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The real facts you need to know

Shooting Landscapes in Wales, Wildlife in London & Street Life in India PLUS: We Explain How to Keep Your Images Safe

How to shoot the images that capture the moment



The magazine for people who love photography



AUGUST 2011 | ISSUE 124



THIS IS MY FINAL EDITOR’S LETTER AND LAST ISSUE IN CHARGE BEFORE I PACK UP MY TRIPOD, LAPTOP AND CAMERAS TO HEAD OFF FOR NEW PHOTOGRAPHIC ADVENTURES. Just over a year and a half ago I took over the Editor’s seat and set out to create a magazine that brought you the best photography from around the world and the most essential advice you could want and need, direct from the photographers who were creating those images. In that time we have chased volcanic eruptions in Hawaii, travelled across the wide open plains of Africa, learnt from those who place their lives in danger among the frozen wastes, walked the urban streets of this country and cities across the world, and captured wildlife in hospitable and not-so-hospitable environments. Along the way I hope we have dispelled some myths, provided some inspiration and helped you to get maximum enjoyment from your photography. Thanks for your support and involvement in everything we have done. It’s been fun. PM

Grant Scott Editor, Photography Monthly


W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 3 ]

114 F STOP David Ward discusses the difficulty in even choosing when to take that shot. 81 EMILY’S PEOPLE Emily Andersen describes organising a busy corporate shoot. This month we have an exhibition of 20th-century icons. See pages 15-23. Gossen’s new exposure meter. GREGORY KUMKA / VENETIA DEARDEN / GLYN DAVIES / MARK CAREY WIN STUFF ON PAGES 23. 92-93 READERS’ CHALLENGE Win great prizes by uploading your images to the gallery. This month – festivals. PRO ZONE 25-33 GLYN DAVIES Rachael D’Cruze talks to Glyn Davies. who lives in an enviable location and sells his work locally through his own gallery. competitions and exhibitions from the world of photography.CONTENTS PHOTO MONTH 9-13 In each issue we bring you the essential news on kit. 48-49 SUBSCRIPTIONS Subscribe to Photography Monthly today. 84-85 FILM SCHOOL John Campbell brings you the latest news from the world of film making on your DSLR. the Ricoh PX and Travel Photographer of the Year. 83 AND 92 Every month we feature the best of our readers’ pictures that have been posted in our online gallery. and the information you need to know your rights. the new iMac. 50-59 VENETIA DEARDEN PM deputy editor Sean Samuels finds out from Venetia Dearden about the best way to shoot at festivals. 109 UPGRADE Your kit questions [4] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . REGULARS 7 FRIENDS Those who have helped us to put this month’s issue together. 45-46 PETE JENKINS Pete Jenkins gives us sound advice on how to protect images online and in print. GO ONLINE For great photographer interviews visit monthly.

IN THE AUGUST ISSUE 34-43 MARK CAREY is a self-taught professional wedding photographer – with a passion for street reportage. W W W. 102-106 PANASONIC LUMIX DMC-G3 Deputy editor Sean Samuels on the streets of Rome with Panasonic’s latest CSC. P H OTO G RA P H Y M O N T H LY. Martin Middlebrook looks at all the shortcuts and cheats used by the pros. who specialises in capturing the natural beauty found just a few miles from the bustle of central London. This month we asked lighting master Neil Turner how to get the perfect headshot... PHOTO ZONE 62-71 ALEX SABERI Tor McIntosh talks to Alex Saberi.. This month he shares with us his tips for shooting on the streets.CO M [ 5 ] . TEST ZONE 97-101 LOUPES AND VIEWFINDERS Jessica Lamb looks at the best selection of loupes and viewfinders for all budgets. 86-91 TAKING HEADSHOTS. 72-78 FIVE GREAT LIES..


Pete Jenkins Photojournalist Pete Jenkins is a photojournalist who has more than 30 years’ experience on national 01242 264783 lucy.CO M [ 7 ] .dufty@archant. DEPUTY EDITOR Sean Samuels sean. He first developed his style on the streets of south-east Asia. Formerly a sports specialist working in London. he is now based in Nottingham. copies of which are available from the advertising department. employees of the sponsor company. 01242 216054 SALES EXECUTIVE George Blandford george. London W1T 3EX. Sweat and F Stops on page 50 to see why she loves shooting festivals. that information is obtained from a variety of sources and neither the Advertisements are accepted for publication in Photography Monthly only upon Archant Specialist’s standard Terms of Acceptance of In 2004 she began a seven-year project to capture the spirit of the Glastonbury Festival.weech@archant. please tick the appropriate boxes on the entry HEAD OF DIRECT CUSTOMER MARKETING Fiona Penton-Voak SUBSCRIPTION MARKETING EXECUTIVE Lisa Flint-Elkins lisa. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Glyn changed tack in 2002 and set up a gallery in Menai Bridge on the Isle of Anglesey in north Wales. Pound conversion rates correct at the time of going to SPECIAL THANKS Karen le Gallez and Mandy Pellatt ADVERTISING DIRECTOR Eleanor Godwin eleanor. or pass your details to selected third parties. Archant House. I Employees of Archant Gloucestershire GL50 1BB www. 020 7396 8000 Photography Monthly is published by Archant Venetia Dearden Photographer Professional photographer Venetia Dearden has shot for magazines such as Vogue and for clients including fashion brand MANAGING EDITOR Simon Reynolds simon. the printers nor any distributor is responsible for errors or omissions.scott@archant. I The editor’s decision is final and no correspondence will be entered PUBLISHING PRODUCTION MANAGER Kevin Shelcott PRODUCTION TEAM LEADER Mikey Godden REPROGRAPHICS MANAGER Neil Puttnam SUBSCRIPTIONS/BACK ISSUES CUSTOMER CARE 01858 438832 ORDER HOTLINE 01858 438840 VISIT www. I Unless otherwise stated. are not eligible to enter.324 W W having picked up a camera only in the past few for EMAIL photographymonthly@subscription. Archant Specialist is part of Archant Ltd. I Archant Specialist may wish to contact you in the future. I Prizes are as described and no alternatives can be FEATURES ASSISTANT Kelly Weech kelly. Turn to | Pete is also a campaigner for photographer and image creator rights and in You Can’t Do That! on page45 he explains how you can protect your photographs from indiscriminate use both online and in | 01242 211096 © Archant Specialist. All prices and data are accepted by us in good faith as being correct at the time of going to press. He now shoots landscape images for his own pleasure. P H OTO G RA P H Y M O N T H LY.reynolds@archant. please add the word ‘NO’ to the end of your text message. In Street View on page 34 he discusses his approach to reportage. ABC certified circulation (Jan-Dec 2010): 17. 01242 264751 MD SPECIALIST MAGAZINES Miller Hogg WHOLESALE AND RETAIL DISTRIBUTION If you have difficulty obtaining a copy of Photography Monthly contact Seymour. Mark Carey Photographer Mark is a wedding photographer specialising in documentary work. which culminated in a book in 2010. 01242 211092 SALES EXECUTIVE Amy Pope amy. to introduce new products and services to www. competitions/giveaways are only open to UK residents. In A Space to Call My Own on page 25 he talks about the way he creates his work and how No 10 came to give two of his books as a wedding present to Prince William and Catherine Middleton. Oriel Road. GROUP BRAND EDITOR Grant Scott his influences and what it was like to shoot on the streets of India.photographymonthly. 01242 211099 GROUP COMMUNICATIONS MANAGER Lucy Warren-Meeks. Reproduction in whole or in part of any matter appearing in Photography Monthly is forbidden except by express permission of the publisher. If you are sending your entry by text and do not wish to be EDITORIAL ASSISTANT Jessica Lamb jessica.pope@archant. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway MEET THE TEAM Each month we introduce you to the people we work with to produce Photography Monthly Glyn Davies Photographer Having worked as a commercial photographer for many years.flint-elkins@archant. 86 Newman He also has some great tips and advice to help you make the most of your street shots. 01242 265895 CLASSIFIED SALES EXECUTIVE Bianca Dufty bianca. and those professionally connected with the competition/giveaway. I While reasonable care is taken to ensure the accuracy of the information in Photography If you are sending your entry by how she does it and her advice for covering events.

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June. all taken over a period of decades. this collection captures the magic of the photographer’s shoots as only Polaroids can. W W W. and his celebrity and influence grew over the decades. These were often discarded. P HP H OTO G RA P H Y M O N T H LY. is a collection of test prints made and saved by the legendary German-born photographer. ISBN: 978-3-8365-2886-3. PM www.99. for Stern magazine.CO [ 9 ] W W W. but Newton saved his and this book is a rare chance to see the setup shots from some of his greatest shoots. Helmut Newton. as the name suggests. POLAROIDS IS A NEW BOOK FROM PUBLISHER TASCHEN which. published in hardcover by Taschen. He first achieved international fame in the 1970s while working principally for French Vogue. 1978.CO M M [9] .taschen. by Helmut Newton. is priced at £34. Put together by his widow. A Gun for Hire and © HELMUT NEWTON / TASCHEN St Tropez.All you need to know from the world of photography PHOTOMONTH NEWTON’S LAW HELMUT NEWTON. Polaroids were once a crucial tool for photographers to test their shots before shooting on film. OTO G RA P H Y M O N T H LY. Polaroids. including SUMO.

as well as cash TRUE COLOURS Datacolor has released the first free application to colour calibrate iPad displays. Journey Four. It is supplied on an aluminium tube.95 from The deadline for entries is Monday 5 September. Postage in the UK is free and by pre-ordering you’ll get your copy before it goes on sale in the shops. Botswana and Cambodia. There are two new categories this year: the first is looking for images which best illustrate how animals make people’s lives better and the second is called garden wildlife. This app is aimed at photographers who want the convenience of using an iPad to display their images without compromising colour accuracy. The overall winner will go on a three-day photography break can colour correct images and create custom colour profiles on their iPad.itunes. The Ricoh PX has an RRP of £179. There is also a paid photographic commission in England and Scotland. 16-megapixel CCD sensor and Smooth Imaging Engine IV image processing engine. Wildlife film maker and TV presenter Simon King will judge and present the awards in December. Oman. and comes in 2m and [10] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 with top wildlife photographer Danny Green of Natures Images. first such prize in the awards’ history. RICOH PX Ricoh has introduced the new PX series. All winning photographers will have their images published in the next TPOTY book. a water and dust-resistant camera. and displayed at a TPOTY exhibition being held at the Royal Geographical Society in London during the Olympic Games in summer Dancing hoverfly The under-12 winner in 2010. These are ideal for either high or low key photography and having two backgrounds in one will save money and space. The prizes include trips to Marrakech in Morocco.READ ALL ABOUT IT You can buy a current issue of Photography Monthly. the TWO FOR ONE The latest durable vinyl backgrounds from XL studio lighting feature matte black and matte white surfaces on one roll. Datacolor’s SpyderGallery is available for free download from the App Store on iPad on It is waterproof to a depth of 10ft for an hour and can withstand being dropped from a height of 5ft. and pre-order future editions from our new website www. This camera is ideal for taking photographs at any time in any . PROUD GALLERIES The RSPCA is looking for budding photographic talent to enter its 2011 Young Photographer Awards. www.xlstudiolighting. Prices start at £ appstore or for more information visit www. Category prizes include exclusive photoshoots at RSPCA centres and Olympus cameras. The PX has a widths and a range of lengths. photographic equipment and For more news and reviews visit our site www. Indonesia A 2010 TPOTY Boy swimming with pet shark in Wangi Wangi. More information about how to enter the competition is available at www.0x wide-angle (28mm) and telephoto (140mm) optical zoom. Deadline for entries is 9 October and further details can be found at www. providing a perfect balance between weight and durability.datacolor.rspca. TRAVEL PHOTOGRAPHER OF THE YEAR The 2011 international Travel Photographer of the Year awards are now open for submissions from entrants of any age and Professional Photographer and Turning Pro.99. Users who download the SpyderGallery app RSPCA CALLS FOR ENTRIES ALICIA HAYDEN / JAMES MORGAN / ©PAUL JOYCE.

99 and is available through The display includes Beatles album covers by Michael Cooper and Iain Macmillan.intro2020. 1967 RUB-A-DUB-DUB Featuring a patented carbon cleaning compound. It has an RRP of £14.CO M [ 1 1 ] . the Lenspen’s new Sidekick keeps iPads. SW1 5XP.proud. P H OTO G RA P H Y M O N T H Jane Fonda as Barbarella. and Brian Aris’s candid shots of Blondie. Featuring the most highly regarded photographers. 161 King’s GO ONLINE For interviews with some of the world’s best photographers. You get 150 cleanings per pad and replacements are sold monthly. www. Rome. tablets and other touch screens clean from fingerprints. portraits of Jimi Hendrix by David Montgomery and David Magnus. London. The Summer Show 2011: 20th-Century Icons runs from 14 July to 11 September at Proud www. this exhibition celebrates the work shown at the Proud Galleries in its 15-year W W W.PHOTOMONTH 20TH-CENTURY ICONS Proud Chelsea is taking a nostalgic look at the faces and photographers of the last century in an exhibition called The Summer Show 2011: 20th-Century Icons. The cleaning pad is recharged each time it is put back in its case.

as the diversity of style and application is represented over such an extended period. Thunderbolt I/O technology for high-speed transfers and a new FaceTime HD camera. from to 4 August.2 megapixels. EC2A 4QS. The new iMac features quad-core Intel Core i5 processors with an option for customers to choose Core i7 processors up to 3. Both cameras will be available in August.TWICE AS NICE Sony is launching two new cameras – the Alpha NEX-C3 and Alpha 35. Prices start at £999 from www. The NEX-C3 gives DSLR-quality images from a compact and lightweight camera body.the-aop. the camera combines a solid-metal top casing with an easy-to-use. said: “This exhibition will stand out as one of our strongest. AOP PHOTOGRAPHERS AWARDS 2010 / ANTONY SPENCER . DSLR-sized sensor allows users to produce pro-quality ‘bokeh’ background defocus effects on HD video or stills. 81 Leonard the end of September. The while all genres of commercial /uk/imac GOLD DUST The Association of Photographers (AOP) is staging a retrospective exhibition called GOLD. It includes next-generation quad-core processors. George Logan and Tim Simmons. will be exhibited. from still life and advertising to portraiture and landscape. This camera is ideal for photographers who want high-speed. which both feature 16. Available in silver or APPLE OF MY EYE The latest signature all-in-one iMac has finally arrived. at the AOP Gallery. You can expect to see images from award-winning photographers including Tim Flach. 2010. AOP’s Leonard Street gallery in London. www. New AMD Radeon HD graphics processors give this iMac the most powerful graphics ever in an all-in-one desktop. HD video and a user-friendly interface. It features up to 60 Gold Award images from the annual AOP awards which began in 1984. the association will continue to curate exhibitions for The AOP Photographers Awards Gold members and its awards programmes at Retrospective 1984-2010 runs from 27 July Ambika P3.4x magnification and also provides in-camera ‘picture effect’ to enhance stills or HD [12] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 For daily updates on news visit the website at www. The processors feature an integrated memory controller to speed up response times when opening programs and a powerful new media engine for high-performance video encoding and © MICHAEL MEYERSFELD. at such a high level. London. uninterrupted continuous autofocus with both stills and AVCHD movies. The AOP’s managing director. powerful new graphics. University of Westminster. It captures up to 7fps in tele-zoom high-speed shooting mode with approximately 1. www. which highlights the changes seen in the photographic industry since the 1980s.” It also marks the end of exhibitions at the AOP Gold and Best in Category winner.photographymonthly. streamlined grip shape. The Alpha 35 provides full-time continuous autofocus powered by Translucent Mirror Technology which was introduced with Sony’s Alpha 33 and 55 last year. The new iMac is up to 70% faster and the latest graphics deliver up to three times the performance of the previous generation. Kingsley Marten.

is joining the team of tour leaders at photographic training and travel company Light & Land. north Corfe Castle.99 and is available through www. the K-r features a 12. winner of the Take a View Landscape Photographer of the Year award in 2010.280 x 720 pixels. including tours to shoot the aurora borealis in Scandinavia and Iceland. plus a rotating and retractable diffuser. Antony will lead Light & Land tours to the Canadian Rockies. has already hosted his own photographic workshops. W PENTAX K-r UPDATE The Pentax K-r is now available in yellow. founder of Light & Land. The new colours will be available in a standard K-r kit which includes the K-r body plus a DA-L 18-55mm lens priced at £529.lightandland.99. www. high-speed PRIME II Imaging Engine. 25fps) within a compact. a stonemason before becoming a landscape photographer. and the Palouse and Olympic National Park in Washington State. Brecon Beacons. USA. lightweight body. compact exposure meter. Based in Dorset. purple or metal chocolate. For more information visit www.pentax. Alongside Charlie a TFT-LCD colour graphic display. blue. Antony. Dorset The winning image in the 2010 Take a View Landscape Photographer of the Year P H OTO G RA P H Y M O N T H LY.PHOTOMONTH NEW TOUR LEADER TO JOIN LIGHT & LAND Antony Spencer. 6fps high-speed continuous shooting and HD compatible video recording (1. Digisky features a built-in remote radio trigger which is compatible with the Elinchrom Skyport to set off studio lights remotely.CO M [ 1 3 ] .co. The meter is priced at £399. pink. on 12 August. In addition to its colourful and modern W W W.4-megapixel CMOS sensor. It also allows three pre-sets to be customised for different lighting conditions and is equipped with a ring controller so that all functions are easily accessible. priced at £149. A new tour to Sark in the Channel Islands has been introduced but places are limited.intro2020. Antony will host a one-day workshop at the National Trust’s Stourhead estate in Wiltshire. READERS’ INNE CHALLENGE R Congratulations to Richard Young for his image It’s better to night travel which is the winner of our July Readers’ DIGISKY Gossen has introduced a high-precision.

This medium telephoto lens benefits from Sigma’s HSM focusing and is compatible with full frame SLR cameras. The latest optical technology.4 EX DG HSM : 85mm | Copyright© 2010 Paul Thacker 85 SIGMA mm | Website: www. 13 Little Mundells. Sony and Pentax Supplied with fitted padded case. Sigma Imaging (UK) Ltd. this lens is perfect for portraits and shots at twilight. AL7 1EW | Telephone: 01707 329 999 | Email: . medium telephoto lens boasts a large maximum aperture of F1.4 and is compatible with full frame SLR cameras. Welwyn Garden City.sigma-imaging-uk. such as SLD glass elements.Sunflower | CAMERA : SIGMA SD14: ISO50. F8. Hertfordshire. Delivering beautiful bokeh. 1/13sec | LENS: SIGMA 85mm F1. petal type hood and hood adapter Offering superb optical performance this first class. Nikon. Canon.4 EX DG HSM For Sigma. ensures the highest image quality throughout the entire focusing range.

Like a still from a movie it suggests what has been and what is to come. and that is exactly what this image does.photographymonthly. it should be about capturing a moment. P H OTO G RA P H Y M O N T H LY. an for me that is what a successful image should do. Grant Scott. a feeling. Editor Jodie Simms Le louvre Canon AE-1 50mm W W W. Simple! GALLERY YOUR IMAGES ED IT OR ’S CH OI CE IMAGE OF THE MONTH This is exactly the kind of picture that a lot of people have trouble understanding because it does not conform to what many believe to be a perfect photograph. but lets us make up our own narrative.CO M [ 1 5 ] . But photography should not be a technical exercise. we choose the best and publish them the following month.Upload your images to www.

Steve Uttley Keepmoat Stadium Nikon D80 10.5mm fisheye [16] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 .

READERS’ GALLERY Agoes SK Drying fish Canon EOS 5D MkII EF 24-105mm Barri Elford Surfer Nikon D700 28-200mm Talia White Strike a pose Canon EOS 45OD 18-200mm Tim Tapley Sedge warbler Canon EOS 7D EF 100-400mm W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 1 7 ] .

Graham McFarlane Old cottage window Nikon D300 Nikkor 18-70mm Anne Lindfjeld Lock of love Canon EOS 550D 18-55mm [18] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 .

READERS’ GALLERY Gregory Kumka Urban style Nikon D80 Nikkor 18-135mm Tim Tapley Longleat House Canon EOS 7D 18-200mm IS W W W. P H OTO G RA P H Y M O N T H LY.CO M [ 1 9 ] .

they were lonely once more Canon PowerShot G10 6.1-30.5mm .Muslianshah Masrie Survival Nikon D90 Nikkor 17-55mm Laurent Shinar When the winter came.

CO M [ 2 1 ] .READERS’ GALLERY Ian Charles Akko (Acre) walls Olympus E-500 Zuiko 17.5-45mm Andres Mejia RIP Huey Kodak Easyshare DX7630 Zoom W W W. P H OTO G RA P H Y M O N T H LY.


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from walkers to oyster-catchers.CO M [ 25 ] . He talks to RACHAEL D’CRUZE about freeing himself from the creative limitations of commercial work. GLYN DAVIES Seaside Retreat Dinas Dinlle is a vast beach beyond Caernarfon Airport. W W W. As the tide retreats it leaves a huge. until the tide once again makes its long journey back towards the cliffs. shoots for himself and sells his work through his own gallery. inviting expanse of sand to be enjoyed by everyone and everything. P H OTO G RA P H Y M O N T H LY.PRO ZONE Welsh landscapes Glyn Davies ACALL MY OWN SPACE TO GLYN DAVIES leads an enviable life: he lives in a stunning location. the secrets of great landscape photography and his part in the Royal Wedding.

I often felt that I was being used as a glorified shutter button by business clients. on the upside. who after many years of working for commercial clients such as Zurich Insurance and Midland Mainline Trains. and found shop premises for me to look at. suddenly had somewhere to show his commercial work and chat properly to clients. insurance it all the time. rather than using his living room. Yachting World and Country Living magazines. It quickly became apparent that people were as interested in buying examples of Glyn’s work as looking at them. instead of working from home. is finally in a position where he can take pictures purely for himself. but in an economic downturn prints for walls are often one of the first things that people stop buying. all having to “I “THE BIGGEST DANGER WAS THAT I WAS PUTTING ALL MY EGGS IN ONE BASKET – AND THAT WAS A LUXURY BASKET. GLYN DAVIES . time. It was hugely scary to think about the sudden and In the long run. but it was frustrating being told what to photograph. eventually turned into a beautiful and dramatic one. TOP LANDSCAPE SHOOT MANUAL TIP come out of one’s earnings. so get used to using rates. Gwynedd. and all of the major UK TV channels and editorial clients including Classic Boat. which he always felt invasive. “I started putting more of my personal work on show and began thinking about pricing. with hardly any signs of earlier footprints anywhere. “The biggest danger [26] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 Patchy Light over Heavy Industry What started as a dreary day of heavy cloud in the hills behind Blaenau Ffestiniog.” says Glyn who. except for two BT workers who were trying to repair vandalised phone cables to one of the remaining working quarries.” explains Glyn. because there is always a need for commercial photography. via people who sometimes didn’t have a clue about what makes an image work.could never have earned a living selling my personal work without my previous commercial work. manual will constant demand for give you better results every overheads such as rent.” Glyn freely admits it was a scary transition for him to make. sometimes even how to photograph it and in the worst cases even having art directors tweaking compositions after seeing Polaroids. but my absolute passion for finally doing my own thing drove me on and focused my energy. This place was deserted.” says Glyn Davies. and so on. “For the most part I enjoyed it: the reward of seeing often dreary subjects turned into fantastically lit photographs. energy. who opened the Oriel Glyn Davies Gallery in the town of Menai Bridge on the Isle of Anglesey in north Wales. After about three years the percentage of commercial to personal work sales had shifted from 99:1 to 50:50. “A business-minded friend suggested that I get a proper business base. in 2002.

Glyn Davies specialises in the landscapes of his local area.PRO ZONE Welsh landscapes Glyn Davies BIOGRAPHY Based at a studio in the town of Menai Bridge on the Isle of Anglesey in north Wales.CO M [ 27 ] .glyndavies. Glyn has had numerous solo exhibitions. and has published three art books about his work: Anglesey Landscapes (Volumes 1 and 2) and Nant Gwrtheyrn – The Enchantment. most recently exhibiting Wales Uploaded at The Association of Photographers Gallery in London. P H OTO G RA P H Y M O N T H LY. He studied at Falmouth and Harrow art and design colleges. in early W W W. www.

send copies down to London. a semi-cute terrier-like mutt came across the beach straight towards me. although during the recent turbulent years he has remained profitable. and has no regrets about concentrating on his personal work full-time. After I had framed for a shot of this boat sculpture in virgin sand. [28] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 GLYN DAVIES Exposed at Llanddwyn This is an old boat wreck at Llanddwyn beach on Anglesey. I became aware that the ambient light had increased at this scene. of course. was that I was putting all my eggs in one basket.Five-Minute Ecstasy Having enjoyed some contemplative observation in the gentle gloom. The rows of tall trees arranged across the rolling hillsides made the landscape look more Tuscan than Welsh.” he says. “I said yes and that I could. It took 20 minutes of Photoshop to sort out the paw-print-free image you see here. Sheep in Welsh ‘Tuscany’ A mist had built in the late afternoon and was backlit by warm evening sunshine for this shot. a blazing torch of orange light was burning over the Irish Sea and the sky was fluxing from blue to pink. asking if he had any of his photographic books left in stock. I was surprised the Cabinet Office wanted my photographic books and asked if they were a present for . Perhaps the biggest accolade for Glyn’s personal work so far came with a phone call he received from the Cabinet Office at No 10 before this year’s Royal Wedding. the dunes were on fire. When I turned around. Glyn compares business life to a frightening roller coaster of high peaks and deep troughs. and that was a luxury basket.

’ she said. to amuse themselves and really explore their TOP LANDSCAPE BE COMFORTABLE TIP W W W. ‘do the couple have a link to the island then?’ ‘Yes. ‘they’re for the wedding. from warm. but that the Prime Minister of one’s own country actually believed in your work enough to put his own reputation on the line about his choice.’ ‘Nice one. sparkling granite cliffs and huge white sandy beaches in the west. ‘Yes.PRO ZONE Welsh landscapes Glyn Davies “I WAS HUGELY HONOURED TO HAVE MY BOOKS CHOSEN AND AM STILL GRINNING TO THIS DAY. “I am images. waterproof clothing to serious who spent most of his formative footwear.. If you are warm and comfortable you weekends out walking and will think more clearly and produce better drawing in the landscape.’ she replied. windswept weather. “I was hugely honoured to have my books chosen and am still grinning to this day. A large golf umbrella has proved honestly delighted that we had so to be a superb investment for little in the way of technology in wet-weather photography. those years. P H OTO G RA P H Y M O N T H LY. it was a bonus that not only were my books seen as fit for a prince and princess. “Cornwall is known for its dramatic.’ at which point it clicked. so it was hard for us not to fall in love with such a powerful visual Your most important kit is what you wear: landscape spectacle. someone with connections to the area.” explains Glyn.CO M [ 29 ] . but in a way. necessity for kids of my generation to make their own entertainment.” says Glyn.” Glyn describes himself as having been an Enid Blyton kid (after the famous children’s author) and cites his upbringing in rural Cornwall and his creative parents as a major influence on his love for the landscape. ‘they are a wedding gift.’ I said.. In fact I believe the even on long walks. from lush trees dripping into deep creeks on the east coast to towering.

. symmetry. “I love the chats I have and putting the world to rights. It’s why I feel a surge of connection to these places. especially with regard to landscape and my connection with it. beyond just being pretty. for abandonment to the elements. and it hits the spot with others who sense that connection. which are barren and windswept with no evidence of habitation and often little sign of man’s intervention. lines and dynamics which are influenced by my art background and continue to style my art.” he adds.“GLYN COMPARES BUSINESS LIFE TO A FRIGHTENING ROLLER COASTER OF HIGH PEAKS AND DEEP TROUGHS. It’s only at a very .. they are visual depictions of my spiritual connection to light and land and sea. preferring to take the time to explore his local landscapes in depth and create a relationship with them.” says Glyn candidly. Usually he travels abroad only once a year. places where Glyn finds and revels in solitude. in all moods. that you really don’t believe in. When asked if he is one of those photographers who feels he has to take photographs. and even for solitude. TIP his gallery.” The ‘mini-wilderness’ Glyn refers to are places close to his home on Anglesey. in all lights. so I find huge empathy from viewers of my pictures beyond the snapshot. That space where one can send your mind in any direction is not unique to me. Of course. “I have absolute passion for the natural outdoors. he says: “No. all triggered by viewing my work. You see their characters change throughout the seasons: sometimes they don’t want you there and other times they embrace you. [30] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 GLYN DAVIES surroundings and immerse themselves in local nature is what has made me who I am today. so for that alone I think the photography is a vital way of experiencing my excursions to the mini-wilderness.” Glyn has come to love the interaction with like-minded people who visit TOP LANDSCAPE BELIEVE Never take a picture. “You see them in all weathers. A Naked Rush On Harlech Beach the wind was so strong that sheets of sand were lifted off and blown towards me like swirling fog around my feet. Delete them there and then in the landscape. which aren’t real wildernesses. or save a picture. pattern and form. I also see beauty. I was amazed by the patterns and tones created by the sheets of wind-driven sand over the shore. but places where you see hardly anybody. for the weather. but the image-making process does slow one down when out walking. it is the catalyst for considering one’s feelings at that precise moment outdoors. echoes and mirrors.

the sea. out of necessity. and then whole farms as it advanced up the valley sides. It was impossible to just start drawing without thinking about scale and how to fit a subject in. “In my rucksack I now have just the Canon EOS-1Ds MkIII. Maybe this is due to my early art years. For him a truly great landscape is one which not only excites you visually in the first place – that you would be happy to look at every day for 20 years – but one which stimulates a deep emotional connection to the land and the light. from thought to capture. the formations. these are the only things which actually matter in his work. you are not going to spend three weeks painting something and then decide to The Advance A thick sea of fog crawled in from the sea and wrapped itself around the feet of the mountains. Snowdonia. Mountains became islands. some have the latter.CO M [ 31 ] . that’s not to say he is inflexible.” Glyn also carries a set of three ND grads and a Manfrotto Carbon Fibre tripod. when even as a kid I would be presented with sheets of paper to paint and draw on: a paper viewfinder in a way. TIP shooting. a 16-35mm L series lens and the 70-200mm f/4. “Many images have the former. it’s the core elements which matter: the stone. W W W. you can’t afford to be lazy about composition.” Glyn adds that regardless of where he is in the world. plus a 1. there are stunning views of the countryside.PRO ZONE Welsh landscapes Glyn Davies Beyond the Fog Views from the summit of Yr Eifl on the Llyn Peninsula. TOP LANDSCAPE TRAVEL LIGHT surface level that a geographical or cultural connection has any bearing. Anything else he considers extra weight and superfluous. Glyn doesn’t like to carry a lot of kit. “I have always been a perfectionist about image making. the vegetation. It swallowed fences. trees. even though he hates the inconvenience of lugging these around. as underneath all of that. Overload your bag and you’ll fail. but few have both – I spend my creative life trying to blend the two. often up in the mountains. As he spends up to two full days per week Carry only what you really need: learn to be creative with less kit.” he explains. Glyn is set on doing absolutely everything in-camera and never crops his images afterwards. not more. the weather and the light. Glyn plans his shooting time. P H OTO G RA P H Y M O N T H LY. process to print.4X Converter MkIII. When it comes to actually capturing images. but he goes out with a clear idea of where he’s heading and what he’s aiming to achieve. I would often make the most delicate marks about where things would fit before starting to push the drawing forward. You had to plan how to use that sheet. Clouds and fog swirl around these peaks but when the fog clears. As a painter. the soil. to pre-visualise where everything was to go.

holidays and expeditions throughout the . kayaking.pyb. mountain biking. we have a winter navigation weekend or an advanced GPS weekend. road cycling. allowing you to get to where you want to quickly and safely. The range sea includesoff piste ice climbing. mountaineering. rock-climbing. kayaking. effective navigation skills can open up the mountains for you. At the National Mountain Centre we teach people to use a map and compass all year round. For the more experienced navigator. allowing you to confidently go further into the wilderness and to find your way safely home or email us on brochure@pyb.the perfect location. Our 5-day Complete Navigation course includes GPS use as well as traditional skills. Plas y Brenin Capel Curig Conwy LL24 0ET Te l : 0 1 6 9 0 7 2 0 2 1 4 w w w. canoeing. Learning to use a map and compass confidently can be an extremely liberating experience. Check out our website www. Our vast range of courses caters for newcomers to navigation and advanced practitioners alike. you may choose to learn some fundamental ropework skills to keep you safe on steep ground. first aid and even landscape photography. u k Email: info@pyb. If you can navigate already. We run 2-day and 5-day courses designed to introduce you to navigation or to polish your and we’ll send you a free colour p y b .co. In fact we run over 300 different courses. c o . Once mastered. to handle a sea kayak to access remote locations or to paddle a canoe so you can get closer to wildlife.

even without a camera. Henri Cartier-Bresson. This is the key to Glyn’s work – he strives to create what he honestly experienced. intensified further by the pinks and mauves uplighting the low clouds over Nantlle. as it is excellent for sharpening and for removing chromatic aberration. but does sometimes reduce it to create a more accurate representation of what he felt at the time he took the photograph. you need passion by the bucketload. TIP adjustments I then open directly in Photoshop for final levels and curves adjustment layers. sweet coffee is always in my rucksack and in winter mountains can be a life-saver. “I use Adobe Camera Raw to sort end-points and general TOP LANDSCAPE WATCH THE WEATHER Study the weather and weather patterns. Plan for tides too. You must be in love with it. always compose in-camera and get your exposures right first time. which will add something to your images. 5 KEEP IT IN-CAMERA No matter how harsh the conditions.CO M [ 33 ] . 7 KEEP CLEAN 3 REMEMBER REFRESHMENTS Always take food and drink out in the field with you. He is not shackled to visual representation. not what he saw. 6 CHOOSE RAW For the best-quality images shoot RAW. Learn to map-read and always take a bivi bag with you. A flask of hot. Following these For more advice and techniques from the pros. GLYN DAVIES crop a 4ft sheet to a 1ft square. 8 STAY SAFE 4 GET MAP SAVVY Scour large-scale Ordnance Survey maps for amazing-looking places and landscape features. or a tick box. And panoramas? “Plan them in-camera. Always take those maps with you. The skies were dramatic and the clouds voluptuous and swelling.PRO ZONE Welsh landscapes Glyn Davies Frozen Outward On the col between the Mynydd Mawr and Moel Tryfan mountains in Snowdonia frozen lakes were surrounded by deceptively warm-looking grasses. 2 EXPLORE You need to be knowledgeable about your subject – explore your own area endlessly and intimately. W W W.” He explains that this discipline of composition was reinforced during his college days when he started to enjoy the work of the celebrated candid photographer.photographymonthly. in fact deliberately stick your fingers in shot to make sure you never try to use it full frame. go to www. P H OTO G RA P H Y M O N T H LY. it’s part of your soul. using timetables. I also use tweaks of ACR to create the starting point for my black and whites. A Calm Crossing The light for this shot was absolutely beautiful. including things in the frame precisely and recomposing each time there’s an unwanted element. Don’t put yourself in situations you can’t handle: mountains can be as dangerous as they are beautiful. preferring instead to allow his emotions to affect how he portrays the GLYN’S TOP LANDSCAPE TIPS 1 BE PASSIONATE Landscape is not a genre. and discovered that he always composed in-camera. PM contrast. Clean your lenses and viewfinder regularly: you’ll be amazed at how much dirt gets on your lens in any session. crisp and intense. Glyn urges other photographers to compose carefully. sharp. Watch the forecasts for exciting systems.” explains Glyn who never adjusts saturation upwards.” Glyn uses Photoshop and Adobe Camera Raw (ACR) for his editing work.

Bundi. India [34] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 MARK CAREY . Rajasthan.Young man and cow.

he is a professional wedding photographer. W W W.CO M [ 35 ] . In an interview with SEAN SAMUELS he offers his tips and advice for shooting on the streets and creating graphic images. P H OTO G RA P H Y M O N T H LY. but his first love is street photography.PRO ZONE Indian street photography Mark Carey STREET VIEW MARK CAREY is a master of reportage work. Self-taught.

Mark Carey Indian street photography

Boys playing in tree, Bundi

It is, but it’s not street photography in the sense of looking for anything that is happening. I am interested in faces and expressions, but for me the overall composition of the picture is the most important thing. What excites me about shooting in India is the idea of capturing

Mark Carey is a self-taught wedding and events photographer based in East Dulwich, London. Before picking up a camera he worked as a carpenter, a profession which has influenced his graphic style of shooting, often described as reportage or documentary wedding photography. Other influences include the late Henri Cartier-Bresson and Magnum photographer Alex Webb. Mark is a member of the Wedding Photojournalist Association (WPJA). He has travelled throughout south-east Asia and India to develop his street photography, his first love.

complex, intimate images which have a gentle balance to them and sometimes a little humour thrown in. I don’t really want posed images but that is not to say I mind people being camera aware. An uncompromising stare straight into the camera can be a very powerful hook in a picture and rather than take the image with the person looking away, I would occasionally wait until they turned to face me, and then shoot. You may have a split-second before that blank stare turns to a smile or even a scowl. For that split-second it is an honest portrait.

every face was different and interesting. The images also told stories about the places I had visited. Their faces and forms brought an element into my pictures that seemed very natural to me and made me want to look at the images at greater length. At that point I realised I wanted to be a photographer who took pictures of people and preferably candid ones. I visited south-east Asia as many times as I could afford over the next couple of years, travelling in Laos, Thailand, Vietnam and Cambodia, nearly always going alone and enjoying nothing better than having the time just to wander and observe quietly.

I visited Cambodia and found myself wandering around the wonderful temples of Angkor Wat, taking the usual pictures of temples and the ancient ruins engulfed by huge trees and their amazing root systems, as well as exotic fruits in the local markets and beautiful sunsets. When I came home, a little wiser about how to use my camera, I realised it was the candid pictures I had taken of local people which were the shots I loved the most. There was a unique quality to them;

The pictures I had seen from India were always intriguing, so I decided to contact a photographer friend who had already shot there to see if he could recommend anywhere in particular to visit. I built up a short tour of Rajasthan [a state in north-west India]

[36] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1



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I like to go where people are and not where the tourists are. cheesy grins into camera.” Man stirring milk for chai. Deciding on the colour of the final image depended on how Men and red railing. and I like to go as close as I can. However. but mostly between 24mm and 50mm. I don’t want big. eventually they get bored and then you can get the shots you want. Jodhpur based on his recommendations. DID YOU SHOOT EVERYTHING IN COLOUR AND DID YOU KNOW BEFOREHAND IF A SHOT SHOULD BE IN BLACK AND WHITE? Yes. For example. so a little bit of knowledge will go a long way.” As far as I’m concerned he was right on the money. you aren’t close enough. I didn’t know beforehand. accept your presence and stop looking directly at you. people’s expressions and even the tiniest nuances. Your eyes need to be open all the time to shapes. Quite often I will hang around outside places where people are working or living and I find that eventually they’ll relax. I shot everything in colour in RAW and no. P H OTO G RA P H Y M O N T H LY. [The photojournalist] Robert Capa said: “If your photographs aren’t good enough. for the work I like doing. I occasionally shoot with a longer lens. as I understand it.PRO ZONE Indian street photography Mark Carey “I LIKE TO SPEND MY TIME WANDERING AROUND AND GETTING OFF THE BEATEN TRACK AS MUCH AS POSSIBLE. There is an intimacy to pictures shot when the photographer is standing close to his subject that I find very engaging. HOW IMPORTANT IS LOCAL KNOWLEDGE FOR A PHOTOGRAPHER? Seeing the work of other photographers and finding out where they have been can be a big help because these people can tell you about interesting places to go. India. with a lot wanting to have their picture taken. I had also spent a lot of time in south-east Asia and needed a change. landscape and architecture. Children in India will nearly always run up if you’ve got a camera and sort of mob you. is quite diverse in terms of its people.CO M [ 39 ] MARK CAREY . In India you get people who are really curious about you so if you loiter around for long enough you can get closer and closer. Then it’s about patience. being quiet and knowing your camera. Jaisalmer WHAT WERE YOU LOOKING FOR? I like to spend my time wandering quietly around and getting off the beaten track as much as possible. but W W W.


they had to look a certain way and I would make an aesthetic choice about how they would balance out. when I take them. If they are rich I will leave the shot in colour. Photographically speaking. As you can imagine. in which I had to design things. the colours in India are quite extraordinary. That said. DO YOU THINK THIS WORK HAS INFLUENCED THE WAY YOU COMPOSE SHOTS? I like things to be balanced out. I guess I have a certain sense of composition gained naturally from my carpentry work. such as Henri Cartier-Bresson.CO M [ 41 ] . I was making many types of cabinets. have a structure in terms of shape and composition which I think would make a great black-and-white image because my mind is seeing the work of other photographers from a more classical time. It’s about the richness of colours which are there at the time.” MARK CAREY Boy and dog.PRO ZONE Indian street photography Mark Carey hard the light was and the colours I had in the background. P H OTO G RA P H Y M O N T H LY. complex images which are quite close. Jaisalmer Cartier-Bresson and Alex Webb are great influences: Webb in particular for his interesting.. there are some images which. but if not I will most likely turn it to black and white. Men drinking chai. I don’t think you realise until you start processing the pictures. YOU WORKED PREVIOUSLY AS A CARPENTER.. wardrobes and kitchens – all sorts. including bookcases. I GUESS I HAVE A CERTAIN SENSE OF COMPOSITION GAINED NATURALLY FROM MY CARPENTRY WORK. with lots of lines and different things “I LIKE THINGS TO BE BALANCED OUT. Jaisalmer W W W.

you can get the natural shot you’re after. [42] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 MARK CAREY but it has a quiet mode on it. because your pictures will feel more intimate. They would rather have the image which was shot at high ISO and loses sharpness and contrast. portraits benefit greatly from a little context. something which offers a little humour. Trying to think in these terms helped my photography a great deal. It’s also an amazing camera for shooting in low light. all three and you have a killer image. fill the frame. Look for frames in the foreground and background. a look. Shoot through objects. The little bird in the foreground of one shot is the gesture. which I like. HOW LONG WAS THE TRIP TO INDIA? Three weeks and I was shooting every day. I don’t make a big hoo-ha as I go around. the shape of the shadows of children playing. As a Westerner it is almost impossible to blend with your surroundings in India. That was usually a good time to make a quiet exit. For me. Arrange that context into an interesting composition and you start to have something that could be a really nice image. They would often want to see the back of the camera and before you knew it you could be taking portraits of the whole town. look for patterns. If the image looks good as a thumbnail. going on in different parts of the frame. Quite often I would stop and just watch quietly.. Sometimes I squint to see the shapes first. You need to be able to go where you want and that might mean doubling back to where you’ve just been or stopping some place for a while. TREAD QUIETLY. in my opinion. I want to fill the frame with an interesting and balanced pattern which has a flow to it. structure – things to partition your frame and make the shot more interesting. Look for the shapes first and the detail afterwards. which is important and. but has something of a film grain quality to it. usually a person in the neutral spaces. Get one right and you’ve got a shot. I’d sit down and they’d offer me a cup of tea. get something interesting. when they are no longer aware of your presence. Like my documentary wedding photography. On many occasions I have had nearly all the elements of a picture I want in place and I just need the last bit – someone is just there in that neutral space and I find myself praying for someone or something interesting to come around the next corner. which is a bigger camera than I would like to use. Once attention is on you. or the cow’s head protruding from a lamppost as a woman rides by on the back of a motorbike. Henri Cartier-Bresson speaks of ‘rhythm’.. Even with some of my wedding work where I haven’t used flash. I shoot with a Nikon D3s. Some of my favourite images are shot in low light where I have ramped up the ISO to give the image this wonderfully creamy aesthetic. The detail is not important at that point. Be interested in what they are doing or just wait. lines. instead I try to keep it tucked beneath my jacket. This is not a hard-and-fast rule. I wonder if the client is going to accept the work. I’d take a couple of shots. you are unlikely to get the image you want. let them relax and then get the shots . I loved the idea that you would look around the frame and your eye would see two or three different things going on. I have experimented with different lenses for this type of work and these are the ones I favour. coupled with short prime lenses such as a 35mm or a 50mm. 2 THINK SHAPES I look for shapes and balance. but in all cases they love it. two and you’ve got a good shot. then it is well-composed.MARK’S TOP TIPS 1 BEHAVE PROPERLY Wander slowly around towns with a friendly smile. It’s the juxtaposition of two subjects in the frame. Sometimes a few words and a couple of shots allow people to relax. Gestures can be a movement.” 3 THINK GESTURES Gestures are important and I think photographers should pay more attention to them. I was very struck by the maxim ‘light. I find it’s best not to engage with people too much before you shoot. When shooting look for shapes in the foreground and background. Generally Indian people were incredibly curious about what I was doing and didn’t mind having their picture taken. I was bowled over by his work. as it may harm your pictures. WHAT HAVE YOU LEARNT ABOUT PHOTOGRAPHY FROM SHOOTING ON THE STREETS OF INDIA? Shoot close. even if it is friendly. a calm demeanour and your camera mostly tucked under your arm. if it draws you in and wants to make you see more. and you’ve probably got a decent shot. Neither are telephoto portraits. though. Tread quietly. If it doesn’t. It’s also weather-sealed. AS CLOSE AS YOU CAN. makes it perfect for travel. gesture and 4 GET CLOSER I tend to find shots taken from a distance are not that engaging unless they are composing elements of the environment. BECAUSE YOUR PICTURES WILL FEEL MORE INTIMATE. so often I need to be very quick. You can be more discreet with it. then it is probably not going to be all that rewarding. and then the people would see me and beckon me in. so many things can be the ‘gesture’. You just need patience. I don’t show off my camera. I find you can’t do this if you are walking around with another person. Then. as close as you can. and use them. composition’. Find ways to get yourself close to people. as they lined up and told their friends. I’m not sure I can describe this easily. “SHOOT CLOSE.

P H OTO G RA P H Y M O N T H LY. I found myself looking at other photographers’ inspiring images and W W W.CO M [ 4 3 ] . 24mm f/2.photographymonthly. HOW DID YOU MAKE THE CROSS INTO WEDDING PHOTOGRAPHY? After I had shot around Asia a number of times. A lot of research revealed that documentary wedding photography or wedding photojournalism was a growing area. but that’s the beauty of photography. 50mm f/1..not required. a wedding photographer I knew asked me if I would like to second-shoot for him on a wedding he was doing. but nice to give out For more advice and techniques from the pros. In some cases I might sit there for 10 minutes until the people were settled. go to www. taped up to make it look as dull as possible Spare battery Small netbook Lots of memory cards Good neck strap with no branding Sweets and or pens for children. He needed someone to shoot casual reportage shots while he did all the posed images.8 prime lenses Nikon D3s. I realised I had found exactly what I wanted to do. line-ups and people doing choreographed running and jumping shots. PM MARK’S KIT LIST 35mm f/2.. mixing creativity and straightforward documentary. My first shots weren’t bad but I realised I had a lot to learn about weddings – the structure of them and what it would be like to have the responsibility of doing a wedding on my own.PRO ZONE Indian street photography Mark Carey Gipsy child and family. then I would take shots quickly. Jaisalmer I wanted.4. which sometimes worked and mostly didn’t.

access a photo gallery exclusive to each issue. Turning Pro. Which Digital Camera and World of Photography. listen to podcasts and view video content exclusive to the iPad edition. Foto Mags Now lets you expand features. If you don’t have an iPad don’t worry as Foto Mags Now can also be downloaded on to your iPhone. THE PHOTOGRAPHER’S GUIDE TO TURNINGPRO PHOTOGRAPHY WORLD OF . Foto Mags Now – your digital gateway to your photography magazines. read text only. Photography Monthly.Your favourite magazines are now available on your iPad! Foto Mags Now is free to download via iTunes or the App Store and gives you the chance to buy single editions and subscribe to Professional Photographer. scroll around the page.

and it does not matter to me whether the aggrieved party is a hardened professional. As with all such enquiries. I want to send a letter to the papers requesting payment.blogspot. Often in these situations. for what he thought was a specific purpose. yet still people insist on believing that the mere act of publishing on a social network gives others the right to use images for free and without permission. this wasn’t the case. trades unions.onlinepictureproof. but I was wondering if you had any template letters which you use. the assumption is made that photos can be used as required. it is essential to obtain all the information before proffering advice and so I asked our friend to give me the full story. a new freelance just starting out. it is not uncommon for advantage to be taken. He is a campaigner for photographer/creator rights and wants to see moral rights underwriting copyright in the UK. magazines. The papers have just fobbed me off. Mostly it’s through ignorance. rather than malevolence. However. but what happens when your images are used without permission? We asked PETE JENKINS to look at the ways you can protect your images from being misused. and their terms and conditions specifically forbid people ‘lifting’ images without permission. or indeed. I have sympathy with any photographer finding themselves in this position. and instead of checking properly that the rights to publish existed. It’s another misunderstanding of copyright law.PRO ZONE Protect your images Pete Jenkins Increasingly enthusiast photographers are being asked for images for use in print or online. the newspaper editorial staff should. I suspect. In my W W W. As all the photographs were clearly marked in the IPTC data with the photographer’s name and contact details. and (the summarised version) went something like this: “I have just had two pictures used by two different local papers. Does this count as a second usage? “I would be grateful for any advice you can offer. Although they may well have believed (or wanted to believe) that the photographs they had been generously supplied with (for free) were theirs to do with as they wanted. public relations and new media. people will choose not to check (which is wrong. of course) and if nothing specific is said. The two subjects were at fault as well. even though the A READER CONTACTED ME RECENTLY.” subjects didn’t actually have the right to give those pictures away. but as we see here. Our friend should have accompanied the images. magazines. FOR WHAT HE THOUGHT WAS A SPECIFIC VERY UPSET BECAUSE TWO LOCAL NEWSPAPERS HAD PUBLISHED IMAGES WITHOUT ASKING HIS PERMISSION OR GIVING HIM A BYLINE (CREDIT). professional pretensions whatsoever. there was no excuse to publish them without checking. I believe that they have infringed my rights. of course.petejenkinsphotothoughts.CO M [ 45 ] . HE DID NOT MAKE IT CLEAR TO EITHER OF THEM EXACTLY WHAT THEY COULD (OR COULD NOT) DO WITH THE IMAGES. be well versed in copyright law. Formerly a sports specialist working in London. mentioning grey areas regarding copyright. including stock photography and copyright. from black-and-white dunk tanks to tethered digital shooting. One was of a model for whom I had done a shoot and the paper obtained the image from her. Both papers also used a smaller repro on their front pages and again on their websites. They should have checked with the photographer before passing the images to a third party (and not just because the third party was a newspaper). he did not make it clear to either of them exactly what they could (or could not) do with the images. East Midlands. whether hard copy or digital files. then it is good enough to pay for. newspapers and anyone else who requires his specialist skills. but he does find time to give seminars on a wide range of photo-related subjects. Despite taking photographs and giving them to the two subjects www. “I need advice. a student. might well have chosen to hide behind the fact that the photographs were given freely by the subjects. In most cases this will simply be the purpose for which they were supplied. P H OTO G RA P H Y M O N T H LY. “DESPITE TAKING PHOTOGRAPHS AND GIVING THEM TO THE TWO SUBJECTS FREE OF CHARGE. Europe and the world. East Midlands business. which is great news when you get a credit – or even better – payment. or do you just send an invoice? The two articles are on my Flickr site. When not photographing. books. Our friend was very annoyed and wanted my advice on how to seek suitable recompense. As the only professionals involved. www. whether they are an amateur with no DID YOU KNOW? None of the popular social networking sites mentioned in this article condone copyright theft. BIOGRAPHY Pete Jenkins is a photojournalist with more than 30 years’ experience on newspapers.petejenkins. if an image is good enough to publish. Pete is now based in Nottingham. His clients include the UK photographic press (amateur and professional).com/petejenkins www. some are errors of judgment and others are over interpretation of the law. The other was of a gymnast whom I had photographed for a make-up artist’s portfolio and the picture was then passed on to the paper by the gymnast’s coach. YOU CAN’T DO THAT! Every party in this case has made mistakes. Pete is usually editing. And finally our friend.

Most people do not understand fully the limitations of Creative Commons. When publishing online. While clearly marking our work as ‘copyright the creator’. Perhaps something on the lines of the following: Dear Mr/Ms XXX. For prints please ensure your name. and without a note accompanying it stating what it may be used for. no. as long as you are happy and have been asked first. eg © Pete Jenkins 2011. As photographers we can do a lot to help ourselves. should ever leave your possession without your full contact details firmly affixed. how do you go about preventing or at least reducing the likelihood of your own work being taken (and published) without your permission? See the panel above for my advice. If it’s very close to the edge it might be too easy to crop out. Many photographers do not care whether their images are used by third parties. entity or company which you don’t agree with uses your work without permission or payment? Can that be acceptable? Are we able to make our work totally protected? Well. please can you refer to me in the first instance. Many images seen on Facebook. eg © Pete Jenkins 2011. asserting our copyright and keeping online file sizes low will definitely make a huge difference to most people. but what happens when a . in any medium or format. This is usually indicated by the copyright symbol ©. or doing anything else with the images themselves. or 4 when sending proofs. Too many photographers publish over-large files. ensure your 7 files are the smallest size necessary for online use. Make sure your name and contact details are clearly attached to every image. Also ensure there is accompanying text asserting your copyright. and in extreme cases being marketed by the perpetrator to third parties wholesale. Ensure this has all your standard contact details etc. In Adobe Photoshop you can save 8 a ‘standard’ file set of text which can be called up on demand. ‘Your name’ No photograph. Most of these involve images being ‘lifted’ (copied) from social networking sites such as Facebook. You might wish to add the year. For digital images complete the File Info fields in Photoshop/PaintShop Pro etc. If you fail to obey these simple rules then you are inviting the same difficulties experienced by the reader in my example. with the specific instruction that you are to be contacted before any other uses are considered so your permission can be given. AND SIMPLY GET A THRILL FROM ANY PUBLISHED USE. so if you need to use them for any other purpose. Twitpic and Flickr. and simply get a thrill from any published use. address and contact details are attached. While there are clear ways of seeking redress once someone has stolen your photograph. [46] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 Do not be disheartened about copyright theft. both professional and amateur. When publishing your images on a 5 social networking site always ensure that the images are properly identified and preferably have a watermark with your name. The case I have quoted is typical of the sort of problems that photographers bring to me. But you really can do a lot to help yourself! BEAT THE THIEVES: Assert your rights Label your work with your name and contact details Invite people to ask you about copyright Use watermarks Don’t be afraid to use the County Court system GOT A COPYRIGHT QUESTION? Ask the Copyright Forum – http://copyrightaction. but there is a wide range of other copyright theft issues that photographers.PRO ZONE Protect your images Pete Jenkins with a brief letter confirming what had been supplied and for what purpose. for the purposes of (whatever). Make sure that you put in writing the 2 uses you allow your work to be used for if giving it to a third party. it makes no difference whether you are a professional or an amateur. be aware that many of these will automatically strip metadata to lower file size. These images are my personal copyright. consider using a watermark. When displaying your work online. including publication or display. Please find enclosed the pictures that you asked for. When giving prints and digital files to 9 friends. including print and online. there is no guaranteed way (at the moment) to stop those who are determined enough from stealing images one way or another. MY TOP TEN TIPS TO HELP YOU PROTECT YOUR IMAGES (Not all of them may be appropriate in a particular circumstance). Flickr and other social networking sites are also not clearly marked. followed by your name. and using CCL allows third parties to use your work without your express permission. which will save time when captioning your images digitally. Ask that they contact you directly before passing the images to any third party. with the stolen images being used in a variety of situations from publicising organisations to the reporting of natural disasters by national newspapers. and on the back of the frame if appropriate. Avoid marking your work as Licensed 10 under Creative Commons. More than one picture editor has told me that 60% or more of the images they receive are not clearly identified to the photographer. in a prominent part of the image. 6 “MANY PHOTOGRAPHERS DO NOT CARE WHETHER THEIR IMAGES ARE USED BY THIRD PARTIES. or if you have undertaken work for your own portfolio which you are handing to a third party. Thank-you. become affected by.photographymonthly. Don’t be one of the dopey 60%. making it very easy for the image files to be lifted and used in conventional print as well as online. Ensure that you assert your copyright 3 on all your work. go to www. That’s fine. but this is not essential. whether a hard copy or a digital file. 1 When uploading to any social networking PM For more advice and techniques from the pros. This protects you and your rights and need not stop further or ongoing use. always discuss the copyright of your work with the receiver.


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VENETIA DEARDEN Festivals offer the opportunity to explore many genres of photography from portraits to reportage. professional photographer VENETIA DEARDEN offers advice for getting the most from your festival images. [50] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 MUD. In an interview with SEAN SAMUELS. SWEAT AND F STOPS . from shooting live action to taking candid shots.

P H OTO G RA P H Y M O N T H LY.CO M [ 51 ] .PRO ZONE Photographing at festivals Venetia Dearden Hog roast W W W.

and know when the light is right and the people are right. It’s the moment of connection between you and what you are photographing.PRO ZONE Venetia Dearden Photographing at festivals Sara and Keely Early arrival “YOU JUST FEEL IT. but also you have to enjoy it. WHAT’S RUNNING THROUGH YOUR MIND AT THE POINT OF CAPTURE? It’s instinct. WHAT ADVICE DO YOU HAVE FOR SOMEONE WANTING TO SHOOT FESTIVALS? Shooting festivals is really hard because it is so chaotic. You just feel it. so my advice is: know what you want. You have to edit as you’re going along. backgrounds and colours. I try not to think too much about it. Over the years I have shot Glastonbury and other festivals in the UK for different reasons. It’s quite difficult to seek out a serene composition. VENETIA DEARDEN IS THERE ANYTHING IN PARTICULAR YOU LOOK OUT FOR THE MOST? Light guides me the most. You just know when you have a good picture. WHAT FOR YOU MAKES A SUCCESSFUL IMAGE? It is one which people stop and look at and feel something for and respond to. You have to be passionate about it. but every time you are confronted by a mish-mash of people. You just [52] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . WHEN IT COMES TO SHOOTING FESTIVALS. AND KNOW WHEN THE LIGHT IS RIGHT AND THE PEOPLE ARE RIGHT. know what you are trying to say and know how you are going to put it together.


.venetiadearden. Isabella and Andrew Gary On stage [54] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 VENETIA DEARDEN “IT’S QUITE DIFFICULT TO SEEK OUT A SERENE COMPOSITION. In 2004 she embarked on a seven-year project to capture the spirit of the Glastonbury Festival. WHAT WERE YOU TRYING TO SAY WITH THE IMAGES WE HAVE CHOSEN? With all my shots I am trying to capture a feeling of the people at the festivals. which culminated in the publication of a book in 2010. All the elements fall into place. know it when you press the button. Similarly you know when you’ve missed a good picture. So I am looking at human behaviour and expressions. interact. SO MY ADVICE IS: KNOW WHAT YOU WANT.BIOGRAPHY Professional photographer Venetia Dearden has shot for magazines such as Vogue and her clients include fashion brand Mulberry. I am interested in people gathering and making these pilgrimages to festivals as a place to meet. share and commune. www. KNOW WHAT YOU ARE TRYING TO SAY AND KNOW HOW YOU ARE GOING TO PUT IT ALL TOGETHER. Bevali.


I think modern-day societies have been diluted. get to know the people. There is so much to learn with photography. but at that time that’s what I learnt – returning with new eyes and looking again. when we got chatting and then went to a show together. See what happens. He is a good friend of mine and we have had a great relationship over the past 15 years. It was really funny at the time because he would send me to animal parks to photograph ducks. From there he invited me to the US. Go back to places. and have been travelling a lot. WHAT WAS IT LIKE TO STUDY WITH THE NATIONAL GEOGRAPHIC PHOTOGRAPHER MEDFORD TAYLOR? He started my whole journey. THAT’S WHAT I REALLY REMEMBER. which was an influence. GET TO KNOW THE PEOPLE. which is about family and people living the life they believe in. That’s what he taught me. but actually made me work accurately on slide. look at the streets in a different way every day. About a month later I got a flight to Richmond. I was also helping him to archive his work. but at that time didn’t quite know how to go about placing stories. I studied anthropology. That’s what I really remember. but I did learn how to research. I was plunged into a peer group of photographers doing a very similar thing to me. I grew up in the country.. I grew up close to the [Glastonbury] festival site and used to love watching the procession of caravans going past our front door.DO YOU HAVE A PERSONAL ASSOCIATION WITH THE CONCEPT OF PEOPLE MIGRATING? I grew up with a really strong sense of community and family. I wanted him to look at some of my images. He had an exhibition on at the festival and I was taking pictures around the town. Somerset Stories. which were really boring things. You often don’t know who your neighbours are and I think these gatherings are important. most importantly. and I wanted to see if these values still existed in my culture as I had witnessed in other places. and there was quite an open-door policy in our house. He got me out of shooting my own stuff. I met him quite by accident in Perpignan at the Visa pour l’Image photo festival. Roy Interval [56] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 VENETIA DEARDEN . I learned nothing technical. WHAT DID YOU LEARN ABOUT PHOTOGRAPHY FROM THE TIME YOU SPENT WITH HIM? He taught me to go back to the same place over and over again. Virginia. GO BACK TO PLACES.” AFTER THIS YOU RETURNED TO THE UK TO STUDY PHOTOJOURNALISM.. which was a massive undertaking. I was exposed to travelling folk often as a child. WHAT ARE THE DIFFERENCES BETWEEN STUDYING PHOTOGRAPHY AND PRACTISING IT? The reason I came back to do a photojournalism course was that I felt I had the photographic passion and skill. I still had an interest in communities. where he lives. I have travelled all over the world and experienced all manner of communities. pick and edit stories and.30 when he came down for an early breakfast. “GO BACK TO THE SAME PLACE OVER AND OVER AGAIN. Fivepenny Dreams. but even when I moved to London. It is the key ingredient for progressing our society. Then I found out which hotel he was staying in and managed to accost him one morning at 5. Spending several years in Africa was a big reason why I came home and shot my first book. Fortunately I was offered a place on the London College of Printing photojournalism course at the end of 1999. He also introduced me to some of the great National Geographic photographers such as Steve McCurry and David Alan Harvey. not really knowing what the festival was all about. they had been working at newspapers. I was 24 and many of the others already had careers.

and I thought it would be fun to bring that to Glastonbury.’ but you never do stop to think about it. I was connected up to all the picture editors. I think that is a really important quality for a photographer. The first year was painful and I remember being in floods of tears. I painted a sign saying ‘shutter flutter’ and hung it above my tepee. I was assisting on an advertising job in Cardiff and thinking about Glastonbury and talking about Richard Avedon’s work in In the American West. so you lose time and power. Being a photographer is like being a hamster W W W. It was very different to being out there shooting. You have to put your teeth into something and not really know why. ‘Next year I will get somewhere that is waterproof. It was meant to be a bit of fun. If you want to talk about problems.PRO ZONE Photographing at festivals Venetia Dearden It really shaped my journey. You are trying to earn a living. So I started the project off on a whim. but I had enough fun to send me back for another year. I could not get the distance to do full length. So I think. I spent the whole of the first year constructing and deconstructing the studio when it rained. It just goes to show you never know where things are going to go. I would take down the whole thing because of the electrics. HOW DID THE GLASTONBURY PROJECT START? I had been working at the festival for a few years selling cider and I got to the point where I wanted to stop that and start meeting people because I had picked up photography. Glastonbury was completely diving off the deep end. Then all those years later you are back celebrating a book. You have to be tenacious.CO M [ 57 ] . It was about the practicalities of working as a photographer. You just jump in and figure it out. You are doing the whole thing yourself and there were constant problems. which my friends found hilarious. I could only do half-length shots. The first year I shot was from a tepee that was too small and not waterproof. P H OTO G RA P H Y M O N T H LY. HOW HARD WAS IT SHOOTING IN THE EARLY DAYS? I get a buzz from diving off the deep end.

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getting others involved and everyone having fun. That’s part of the drive and I love it. but I am completely immersed. I try not to worry about it and. That’s all I have ever done. IN THE EARLY DAYS HOW DID YOU ENCOURAGE PEOPLE TO BE SHOT? In the early days it was easier because there was a lot more time. go to W W W. digital is more practical and cost-efficient. Part of you is throwing yourself out and about.photographymonthly. We were photographing on average around 1. P H OTO G RA P H Y M O N T H LY. invite them in and put the kettle on over a chat. from medium format to SLRs. WHAT DO YOU SHOOT ON? I mix between film and digital all the time. IN THE END DID YOU PREFER WORKING ON YOUR OWN OR WITH A CREW? This project was all about people. we got a bit of evening light. I would open up the studio at three in the morning and get everyone going so we could shoot between 3am and 6am to get the people who were up at that hour of the night. queuing up as the story had appeared in a couple of magazines and they knew it was going to be in a book. Sometimes it’s about budget. You are always evolving and so is the industry. Every month is different. which is based around my first book. so I am always learning new stuff. Nikon. and will if I can.PRO ZONE Photographing at festivals Venetia Dearden on a wheel. By the last year we had people Homeward bound “I NEVER SIT BACK. sometimes it’s about the texture and the feel you want for the image. I have been doing it for a little while now. but I prefer shooting on film Fortunately. given all the equipment that’s available these days. like anything in life. I never planned for it to be a book. I am just learning at the moment. but it is all totally new to me. until we had finished. I shoot with many different cameras.CO M [ 59 ] . as there is no laurel to sit back on. Canon. I have done a music video recently. so then you need to shoot on digital. HOW LONG WAS THE PROJECT? It ran for seven years and with each year I became a lot more organised and more efficient. The reasons for using each differ. It was still fun. including Hasselblad. Sometimes it’s a question of timeline when you must have an edit the next day. The project was motivated by wanting to meet people and to get close them to find out why they were at the festival. It was much more mellow. Leica and Contax. I am still learning the technical side of things. I started photography at 18. but I couldn’t spend as much time with the subjects as I wanted to.000 people each year. I would die if I stopped learning. PM VENETIA DEARDEN For more advice and techniques from the pros. It has been a business for me since 2001. It feels like a natural progression. otherwise I never would have been able to publish a book. Increasingly. but throughout you follow your gut instinct and just keep going. AS THERE IS NO LAUREL TO SIT BACK ON. IS MOVING IMAGE SOMETHING YOU WOULD LIKE TO DO MORE OF? Absolutely. I had two assistants helping me. SO I AM ALWAYS LEARNING NEW STUFF. The music video was hysterical – four boys and a Ford Thunderbird driving around Somerset lanes. I realised I wanted a more intimate space in which to photograph and I cordoned off a little bit of the studio so there wasn’t an audience watching all the time. it’s hard work. My style now is very different to how it was when I started out and maybe it will be different in 10 years’ time. However. which is also a learning process. Mamiya. I am now 35 and am still learning. I never sit back. you encounter problems and find a solution. photography is a constantly evolving journey. We had a great space down there and the people worked half the time and had the other half off. I am doing a series of moving image pieces in Somerset. trying to earn a living while the other part is just trying to survive. and people completing model release forms. As the project got busier. I started off on my own but by the time it had finished I had a crew of 15 down there with a digital office in a big truck so we could download the memory cards. but it is good fun. I would see people.

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70). multi-million-dollar industry. PM www. priced at $35 (£21. with photographs by Jamel Shabazz. ISBN: 978-1-57687-567-4. P H OTO G RA P H Y M O N T H LY. by powerHouse Books.PHOTO ZONE The home of creative photography FROM BACK IN THE DAYS REMIX: 10TH ANNIVERSARY EDITION. featuring additional images and new text.powerhousebooks. Back in the Days REMIX: 10th Anniversary Edition covers the emerging hip-hop scene from 1980-1989 and documents life on the streets of Harlem.CO M [ 61 ] . is available in hardcover from powerHouse Books. Queens and Brooklyn in New York long before the scene became a multinational. PHOTOGRAPHS BY JAMEL SHABAZZ. PUBLISHED BY POWERHOUSE BOOKS RAPPERS’ DELIGHT FANS OF STREET PHOTOGRAPHY AND EARLY HIP-HOP CULTURE will be pleased to know there is a follow-up book to the highly popular Back in the Days. Back in the Days REMIX: 10th Anniversary W W W.

But then Alex Saberi isn’t your average nature photographer.CONCRETE JUNGLE What first started out as a personal project for amateur photographer ALEX SABERI has grown into a collection of nature images that has attracted national media attention. having no interest in using a super-long lens and shunning a static camouflaged hide for the mobility of two wheels aren’t attributes you would associate immediately with a successful nature photographer. mpatience. with the constant drone of traffic and the occasional ear-piercing siren providing the familiar background noise of city living. you don’t have to travel very far to shoot extraordinary wildlife images. rather than only a few miles from London’s metropolis. All of the images published here were taken in Richmond Park in London and. as TOR McINTOSH found out. The London-based web designer turned award-winning photographer sidestepped formal training and instead turned to the internet to learn the skills which helped him create a beautiful portfolio of nature. What is even more impressive is that many of his stunning photographs capture scenes that a lot of city dwellers would expect to see in remote rural locations. west London. I spoke to Alex about his transformation from keen amateur photographer to having his collection of photographs taken in I ALEX SABERI [62] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . From a rooftop in Notting Hill. wildlife and landscape photographs.


such as taking the best picture of shadows or the best landscape photo. a Canon EOS 300D (he now uses a Canon EOS 5D MkII). including the Environmental Protection Agency’s wildlife competition and Landscape Photographer of the Year. people come from all over the world and there are different levels of experience and experts in different genres. but it’s true. no matter where you live. Although he enjoyed experimenting with various genres through the weekly competitions on DP Challenge. Are you inspired by other photographers? Answer: DP Challenge photographers (“…I was definitely inspired . but they also highlight the fact that you can photograph nature.” BIOGRAPHY Alex Saberi started taking photos in 2005. www. As a self-taught photographer how did you teach yourself? Answer: The DP Challenge forum (“…the forum is really friendly. The Times and the Sun. there’s nobody there apart from a few people walking their dogs and you feel really close to the animals. including the Evening Standard. especially as they occur almost under the noses of the [64] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 eight million people living in the capital. even if you live in an urban environment. cycling to Richmond Park and taking photos – it was like an escape for me. after everybody has voted on their favourite photo you have an overall winner at the end of the week who is awarded a virtual ribbon. He has won prizes in a number of photography competitions. so you can ask any questions and you have comments on all your photos too”). it’s just that you might need to look a bit harder. living next to Richmond Park meant that he started to focus on nature photography as a way of escaping from the hustle and bustle of life in central London.” he laughs. “I REALISED THE THING I WAS MOST INTERESTED IN WAS WAKING UP EARLY. in south-west London.” he explains. you don’t need to travel far from your doorstep to take photos of the natural world. “But [in 2005] I started to compete on this website called DP Challenge where you have a challenge every week under a different genre. “I was always interested in photography. Alex stops himself when.” It was both the competitive side of the weekly challenges and the creative aspect of coming up with different and unusual ideas that appealed to the web designer. “Being there so early is just beautiful.” Not only are the scenes that Alex captured in Richmond Park breathtaking. and it wasn’t long before he had built up an impressive collection of virtual winners’ ribbons. grace the pages of many of the country’s national and regional newspapers.Richmond Park. for the umpteenth Kingfisher’s wait ALEX SABERI “I realised the thing I was most interested in was waking up early. More importantly. Not wanting to sound too much like an advert for DP Challenge. gave Alex the chance to develop his photography further. It sounds very cheesy. CYCLING TO RICHMOND PARK AND TAKING PHOTOS – IT WAS LIKE AN ESCAPE FOR ME. Upgrading from his point-and-shoot to his first DSLR. after buying his first DSLR. but I only had a point-and-shoot camera and never really expanded on it. Most recently his images of Richmond Park appeared in the national press.alexsaberi. he refers to the website during our interview.

I eventually ended up meeting a few of them on one of the get-togethers and we drove around Iceland taking photos”). or the camera equipment to make it easy to shoot as many photos as he wishes in one sitting. delete. experiment. shoot. show how getting access to the profession has changed dramatically. The rise in the number of ‘pro-am’ photographers can be linked to the ease with which people can now pick up a digital camera. agreeing that. sell. It’s a contentious subject. if they’re lucky.CO M [ 65 ] . play. who use online forums to learn the art of photography and then upload their work on to photo-sharing sites. There were amazing Icelandic photographers and I wanted to learn what they knew. 10 years ago he wouldn’t have had the online platform to learn. the popular DP Challenge site. P H OTO G RA P H Y M O N T H LY. you guessed it. but those such as Alex. A lot more people now own a digital camera and it has inspired a generation to think seriously about turning their hobby into a profession. experiment and ask questions. especially for photographers who have been in the business a long time. say. Alex’s journey over the past six years from being an amateur to verging on becoming W W W.PHOTO ZONE Photographing London wildlife Alex Saberi Call of the dark by some of the photographers on DP Challenge. And Alex is fully aware of this. I think it’s fair to say that what propelled Alex into the world of photography was. download and.

“I'd wake up before it got light and head straight to the park. “Yeah. above all. he was the only one making his way around the park on a bicycle. I’m not a man of patience.” he admits. which I find particularly amusing considering he’s a nature photographer. it was probably over three years”) and cycled to Richmond Park to take photos of the changing seasons before heading to work.” he explains. It was no surprise to learn that the photos by Alex which appeared in many of the UK’s newspapers in April with the headline A Year in the Life of Richmond Park were initially picked up by the news agency BNPS (Bournemouth News and Picture Service) after a member of staff spotted his portfolio on the photo-sharing website. “Other photographers I see in Richmond Park hang out in the same location with their massive lenses – I’ve not [66] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 Battle Enchanted forest . dedicated.” Although he wasn’t always the only photographer in the park at the crack of dawn. unable to sit still for too long due to a lack of patience. sometimes returning in the evening.” Lucky. Flickr. and then leave to get to work at 8. Over a lengthy period.30am. “They worded it right and did the whole PR thing and it was snapped up by the papers. The employee contacted Alex asking for permission to submit the collection to the newswires as the agency had a good angle for a newsworthy story. yes. I think I was just really lucky. Alex woke up early most mornings (“it wasn’t every single morning – that was the papers’ take on it – and it wasn’t over one year.Summer meadows ALEX SABERI a professional epitomises a modern-day photographer. “I’d have everything prepared the night before – my breakfast ready and all my things on the table – so I could get up and straight out the door. but also talented and.

this is definitely a good photo. Nothing would happen and I’d think. I wonder if the success brought about by the publication of his photos will tip him towards buying a camouflage hide and an enormous wildlife-specific lens. it is a 100-400mm – but I’m the only photographer on a bike. “It’s funny. kingfishers. well for me anyway. This was especially so because the park has a rich variety of other wildlife.’” After capturing many superb shots of deer during his time photographing in the park – his backlit shot of four stags perfectly lined up on a misty autumn morning won the US Environmental Protection Agency’s nature and wildlife photo competition in 2008 – he was worried that he was becoming known as Richmond Park’s Deer Man. ‘I’ve wasted all this time and it was a really good misty morning. Also. “If that’s what it takes to get to the next level.” he laughs. a photograph he captured in 2008 of a swan stretching its wings on a misty brook. One night when I was bored I was just flicking through old photos on my hard drive and I found it and thought ‘wow’. Yet it was very nearly lost. “The worst thing I used to do was have to wait. which he spends much of the time capturing too. rabbits.. I like to shoot around from one bit to another because I get bored easily. I want to get as much as I can each morning and not waste my time.. popular images.” Despite Alex being far removed from the stereotype of a nature photographer.PHOTO ZONE Photographing London wildlife Alex Saberi got a bad lens. due to the disorganised filing system on his hard drive. it was on my hard drive and I’d overlooked it. including swans. which has since become one of his most Realm of the deer This image won the US Environmental Protection Agency’s nature and wildlife photo competition in 2008. geese. damselflies and spiders. THERE’S NOBODY THERE APART FROM A FEW PEOPLE WALKING THEIR DOGS. but I’m always fearful that maybe the success. Call of the wild “BEING THERE SO EARLY IS JUST BEAUTIFUL. because you only get perhaps an hour and a half of the maximum conditions so you have to make the most of it.CO M [ 67 ] .” W W W. then maybe I will. he admits. One of his favourites taken in the park is Angel. “You never know. I didn’t even see that photo until last year. I take loads of photos every day. so they kinda get lost on my hard drive. P H OTO G RA P H Y M O N T H LY. squirrels.

It would be great to be able to zoom in more. Also. he was born in Afghanistan and only moved to the UK when he was five years old. it’s a tough one. I don’t know. rather than having one of those massive lenses. but you’ve got to have a tripod and you can’t be cycling around [with a tripod]. I think you have to be a risk taker… and I’m not a risk taker.” he admits. Although London has been his home for the past three decades. I ask if he would ever consider returning to the troubled country of his birth to take photos of the landscape and wildlife. while a recent purchase of a macro lens will see him spicing up his nature photography. but it’s not a place to go [to [68] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 Summer fairy tale . “Ultimately... “ULTIMATELY.of getting the shots that I wanted was actually because I was on a bicycle and using a lens that was a little bit more versatile.” And taking it to the next level – essentially quitting his day job as a web designer to become a full-time photographer – is a route Alex isn’t 100% convinced he wants to take just yet. “The thing for me is that combining money with a hobby could corrupt the passion because you have to earn the money to pay your mortgage every month.” Into the light ALEX SABERI but whether you can do that and earn enough money to live is another question. but photographing in the unsettled climate of Afghanistan is definitely one step too far for someone who doesn’t take risks. IT WOULD BE GREAT TO DO WHAT I LOVE FULL-TIME BUT WHETHER YOU CAN DO THAT AND EARN ENOUGH MONEY TO LIVE IS ANOTHER QUESTION. the latest being reflections of London in the rain. so I don’t think you get the flexibility.” In the meantime Alex is keen to continue the personal photo projects he regularly sets himself. “I’ve spoken to my father and my mother about it. it would be great to do what I love full-time.

P H OTO G RA P H Y M O N T H LY.PHOTO ZONE Photographing London wildlife Alex Saberi W W W.CO M [ 69 ] .


Don’t get hung up on acquiring a massive lens – sometimes covert tactics can help you to get closer. This keeps you on your toes and helps you to understand your equipment better. The photographic opportunities may be brilliant.PHOTO ZONE Photographing London wildlife Alex Saberi photograph] because there is a bomb every day. go to www. beautiful landscapes and wildlife opportunities. they’re much cuter. “And anyway. the mobility of cycling means if you spot something in the distance you can get in a good position before the light fades or animals disperse. W W W. Set yourself new challenges and projects. If there’s not enough light to keep the shutter speed up or ISO down.CO M [ 7 1 ] . as well as amazing mists and colours. but you quickly learn why.” PM For more advice and techniques from the pros. Getting up early can be hard. experiment by using a flash to illuminate your subject. It may be tough being told your photo doesn’t hit the spot. Don’t ever delete photos that at first glance don’t make the grade. instead use these periods to scout the area for places to revisit when the conditions are right. Setting the flash to one side of the camera reduces the chance of the light bouncing back from an animal’s retina. They will soon lose interest in you as long as you don’t make any sudden movements. For animals which can be easily ALEX’S TOP TIPS Invest in a bicycle. clothes and gear the night before so I can just get up and go in the morning. try getting closer gradually and not looking straight at them. especially if you experiment. For my Richmond Park series I would sometimes get to the park and be disappointed in the weather. with its easy links to London. but I just don’t want to take the risk.” he announces.” Alex confesses that the safer and more logical location to head to for his next project is the New Forest. Don’t despair. Submit your photos to websites and forums when starting off as this will help you to get a feel for what appeals to people and you can benefit from the feedback. I have rediscovered real gems years later. Remember that the bigger the lens the slower and less mobile you will be.photographymonthly. P H OTO G RA P H Y M O N T H LY. “I’m thinking of exchanging deer for ponies. My favourite season is autumn as it has the perfect mix of the sun rising at a respectable time. therefore I always prepare my breakfast. I tend not to use a tripod for this reason and rely instead on IS lenses.

or indeed cared a little too much. what happened the moment the can of worms that is ‘digital’ was unleashed upon the unsuspecting amateur photographer. it’s our way of keeping ahead of the pack. ‘nice to knows’ if you cared less. So here are my five great lies of the pro. Professionals lie all the time.Shooting from the hip is an art – learning to capture images while not looking through the lens guarantees engaging and natural expressions. it’s our stock in trade. Suddenly. forgotten or ignored when making images. Of course. reciprocity failure THE PRO W and push processing became anachronisms. GREAT LIES OF This month professional photographer MARTIN MIDDLEBROOK takes a look at the rules and regulations the pros would like you to believe they follow and explains why these are so often broken. We talk in numbers and live in the past and never tell the truth. but pros have a few tricks up their sleeves as well. or are they? MARTIN MIDDLEBROOK [72 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . If people knew the truth then everyone would be turning pro. of course. you can have the best kit in the world and all the software to boot. Which is. hy restrict it to five? That was the first thought that popped into my head when I was asked to write this article.

P H OTO G RA P H Y M O N T H LY. It could easily be reproduced as a spread in a magazine. We don’t need to worry about emulsions anymore. of a New York fire engine on 5th Avenue. who were sick and jetlagged. and you can kick ISO 100 into touch. Well. Taken at ISO 1000 and exposed correctly. BUT WE CAN BE PRETTY SHIFTY. New York at Christmas. at 1/30sec. the next I will be proselytising that getting the shot is all. handheld. handheld. taken at ISO 1000. but I was traipsing around the city with my kids. I am sure it would be full of inconsistencies and bad advice. WHY WOULD WE? OK. half the time we can’t decide ourselves. below. So when this fire engine went by I just panned and zoomed out at the same time. One minute I will be telling you that quality is king. every shot can be unique. top right. So here is the first real lie. W W W.PHOTO ZONE 5 great lies of the pro Martin Middlebrook PROS ARE THERE TO HELP YOU – VERY PROBABLY NOT. there is no movement at all. When you are an amateur you have all the time in the world and if it goes wrong no one loses their job. The quality. is everything to a pro! The next day I grabbed the shot. you see.CO M [ 73 ] . Cameras can suck up more mistakes and still spit out some real quality. Not a stellar shot for sure. in New York. it is sharp and saturated. you have no time and real consequences. SO THIS DOES SOUND A LITTLE SINISTER. there is simply too much to take in. too many variables that we need to calculate in a fraction of a second. 1/6sec. Knowing your parameters. So sometimes you cheat! And we have more latitude to cheat than ever before. When you are a pro. sharp and perfectly exposed. is of Macy’s department store. so this does sound a little sinister. they are often thrust upon us. Decisions are not always that informed. behind expediency and ease. So tripods ISO 200. and yet taken handheld in near-total darkness. handheld. were left at the hotel and ISOs were set high – it’s a holiday snap I suppose. because we just know the camera can absorb all the blows. The image. In the dead of night I have a crisp and clear shot. the line between success and failure. I had all the light I needed but had been doing some slow-speed stuff. our cameras can handle it all! “OK. I was on shutter priority so I set f/13 to slow the shutter speed to a blur. however. and got all the saturation and energy I needed. Increasingly photographers put quality way down the list. If I were to look back over the many articles I have written this past 12 months. at Christmas. but we can be pretty shifty. movement and energy. is amazing. and in the best light possible I have the energy and movement I need.


I will drop my camera to my waist and continue chatting with the subject and. When I have completed a series of shots. and combining them is simply part of being a pro – it’s not that you don’t want control and perfection. If you want the truth – a candid expression of a moment in time – then a considered technical response is often not the way to go. just after I have told everyone to “stand down. an informal shot at a wedding. as another example. just shoot away. I also know that using second sync flash will guarantee that I can handhold at exceptionally slow shutter speeds. YOU WILL BE AMAZED WHAT YOU CAN GET AWAY WITH! This may sound like lax advice. and I would be the first to agree. then you can grab glorious moments of perfection like this. ALWAYS USE A TRIPOD FOR ANYTHING LESS THAN 1/15SEC – NO. of course you do. That’s when you get the shots which count. ALL THE BEST SHOTS ARE TAKEN WHEN THE SUBJECTS THINK YOU’RE DONE! Some of the best shots you will ever take of people. of course she isn’t. however formal the situation.” Relaxation and relief sweep across the frame in such an infectious fashion. and allow reality to unfold. always. I know that ‘bracing’ myself will support this even more. The image of the young woman in India which opens this feature (page 72) is such a moment. THEY WERE JUST THE SETUP. then you find ‘workarounds’ that allow you to shoot in the most challenging of situations.PHOTO ZONE 5 great lies of the pro Martin Middlebrook ALWAYS SAY ‘CHEESE’ – NO. but this is often nonsense. and how accurate they often are. Pros don’t always have time to use tripods! MARTIN MIDDLEBROOK W W W. I don’t suppose I will ever look at the images which led to this instant in time. Knowing all these cheats. If I could give you just one tip about photographing people it would be this: all the shots you take while the subject knows you are shooting them are merely leading you to the point where they forget about the camera altogether. will be when they don’t know you are taking them. P H OTO G RA P H Y M O N T H LY. However. a contagion that spawns a hundred smiling portrayals.CO M [ 75 ] . I’ve lost count of the number of times I have shot images handheld for a second or more. we are done. she’s looking at me while we chat away – a much more revealing and honest response to our brief connection in a Mumbai slum. a malaise of laziness. “I DON’T SUPPOSE I WILL EVER LOOK AT THE IMAGES WHICH LED TO THIS INSTANT IN TIME. I love the fact that she isn’t looking at the lens. Take. the ones you will really feel attached to. This was a grab shot for a conference centre. they were just the setup. and if you know how to shoot accurately when the lens is two inches from your face. I know that while shooting handheld with an IS lens I can happily keep movement blur to zero with shutter speeds of a second or more. This is how I view my picture taking. I had spent a little time taking some portraits of her. There is a curious notion that photography is about considered control. If you don’t have that opportunity. unknown to them.5sec. the image above. you will find yourself compromising more often than you would wish. Handheld shots at slow shutter speeds are possible. This principle works in every situation you wish to consider. though. If you are on a commercial shoot (like the one on the right) where you have to cover a lot of elements in a day. all the while leading to the moment when I would drop my camera Tell everyone the shoot is over and then you can capture real images. that we have weighed up all the technical options and composed our image. If you have control of your settings and focus points. handheld at 0.

are you going to waste time dialling in a new kelvin figure for tungsten. I would love to tell you that pros use filtration where necessary to add that lustre as required – but that would be a lie too. the other for the foreground.” exposing accordingly? Or will you just change the colour temperature in-camera and get what you want. expose across the range and allow for the drop-off. will you drag out your graduated neutral density filter. If you can shoot in RAW and change the colour temperature of your image later. or halogen. Changing the white balance became a hassle. In the top image the sky was already a beautiful orange.500K to subdue the image and complement the sombre mood. and to spend all the time administering and I changed the colour temperature in-camera to enrich the image. right. The light was changing constantly from tungsten to natural to studio light. The reverse is true of the soft seascape. . so I changed the colour temperature in-camera to enrich the image. hassle-free and immediately? And if you have a very high contrast landscape. but I wanted more. AWB IS KING FOR MOST! I would love to tell you that all pros manually set the white balance and compensate for all situations – but that would be a lie. forcing it to overcompensate and add lots of red..000K. Technology moves on and what was once essential soon becomes an anachronism. In the shot. watery scene. or indeed add a cold blue cast to that placid. so I created a corrective action in Photoshop that dealt with all colour cast issues – lazy but expedient. I dialled in 8. are you really going to go to the expense of buying all the filters. so I changed the colour temperature in-camera and achieved my aim. but it solved difficult issues. or might you just take two shots. one for the sky.. [76 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 I dealt with this complex white balance by setting an action in Photoshop – a cheat. and swiftly put the two of them together in Photoshop? These are rhetorical questions and I would not advocate you follow my line of thinking – except to say that the images here are three examples of just such scurrilous behaviour. and take that shot. fooling the camera into thinking it was a blue sky. I changed the colour temperature in-camera to 2. when the flick of a slider in the studio does it all for you? If you want to enrich that sunset. I was doing rehearsal shots for a theatre company’s marketing portfolio. SO I CHANGED THE COLOUR TEMPERATURE IN-CAMERA. “I WANTED TO SUBDUE THE IMAGE IN KEEPING WITH ITS SOMBRE MOOD.PROS ALWAYS HAVE CONTROL OVER WHITE BALANCE – NO. I wanted to subdue the image in keeping with its sombre mood. I would love to tell you that pros use graduated neutral density filters to compensate for high subject brightness ratio – let’s get real! The world of digital has changed it all and a good pro knows all the tricks.

and randomly shoot as I walk along. P H OTO G RA P H Y M O N T H LY. by trial and error. fired off one shot and captured the most perfect serene expression. Anticipate the possibility and dial in the settings in advance. you get great moments. It matters not a jot. I replied that whatever the circumstances.PHOTO ZONE 5 great lies of the pro Martin Middlebrook Having your camera set up to grab moments is essential. Above. so lucky coincidence and sweet serendipity are a canary tweet in the coal shaft of life. SOMETIMES WE GET STUFF BY MISTAKE. while I was on commission for the Afghan government last year. are staring out of the window from the top floor of the Empire State Building. The boy and his sister. by luck. and it’s the lucky nature of it all that appeals to me so much. Afghanistan. Pre-selecting focusing points and setting ISO and aperture in advance allows you to catch the unexpected. OR LUCK! I was asked a couple of years ago what I felt was the difference between a pro and an amateur. top. but I love it as a piece of street photography.” I still believe that. by making genuine mistakes. I never look through the lens. taking a random shot. Which implies that we are always in control and we know what we are getting. I love this kind of shooting because you really do achieve a totally different look and feel to your images. I will put a wide-angle lens on. and by all manner of ‘unthought-of’ practices. Pros have enough skills in their pocket to deal with anything that is thrown at them. a big two fingers to a sacrosanct code of professionalism. however. badly composed ‘head missing’ shots. If I am walking down the street with my camera. PROS ARE ALWAYS IN CONTROL – NO. It’s simply a matter of practice! W W W. out-of-focus. the child lost in wonder at the New York skyscape. unguarded cameos of another’s day. All of which mattered greatly when you were The same principle applies to this image shot in Afghanistan. with camera at my waist. is another example. There I am in the reflection. burning Fuji Velvia at £6 a roll plus development. Sometimes. taken in Bamyan. a whopper. I just press the shutter and see what I get. a pro always gets a shot. just sometimes. And I would say that about 95% of the time I get utter rubbish. if it’s free. set my focusing points and an ISO that gives me enough speed and depth of field to allow for inaccurate focusing and movement. but you can make a pretty good shot at making it look like Skegness. As I walked by I turned my camera to the window. It’s not Pulitzer-winning stuff for sure. Sometimes we get stuff just by chance. I said: “You can’t turn Skegness into the Cayman Islands. As pros we often deal in the contrived and created. This is a lie.CO M [ 77 ] MARTIN MIDDLEBROOK .

most pros do adhere to solid practices. So I chucked my camera on the tripod. let’s say. Here are just two examples of techniques I use to embellish the truth: I was photographing an engineering company for a brochure and while the sparks from the grinder were dynamic enough. f/13 and 1. firing off a couple of manually metered shots a day. It’s a ‘mind-set’ we should sometimes use. seated to the left of the frame. the overall scene was flat. though you are probably ahead of me. so we learn to make the most of the limited picture-taking moments we chance upon. Here I used a bottle top to introduce the rich red to enliven the whole. such as landscape. Some techniques are mere additions. above. but I did say you couldn’t trust a pro. SOMETIMES WE SPICE THINGS UP A BIT! The first thing to point out. set a very slow shutter speed. there was only one person available. For more of Martin’s articles visit the website at www. So I searched around and found a bottle top. others pure deceit. We so often turn up on a commission and find we have a dull scene in front of us. demand this. tripod. It was shot early in the morning before diners had turned up. “I HAVE LOST COUNT OF THE TIMES I HAVE MODELLED IN MY OWN SHOTS BECAUSE THE SHOT DEMANDED A SENSE OF HUMANITY. I can tell instantly how the photographer took the picture. was taken for a restaurant brochure. one that by hook or by crook we must lift from the ordinary to just a little above ordinary. It just lifts the whole image.PHOTO ZONE Martin Middlebrook 5 great lies of the pro A PRO ALWAYS CAPTURES REALITY – NO. is that this is my sixth lie. a new breed of photographer has a new way of working and a commercial shoot is often very different to landscape or wildlife photography where time and control allow stricter practices. IN CONCLUSION Once upon a time. these always give the best results. When I look through the pages of. and I was the only one available! There are so many simple techniques that pros use to embellish and create a different reality. what workarounds and cheats they used in-camera.6sec. but we wanted a sense of energy and movement.. adding a vivacity that would otherwise have been missing. because you are asked to turn Skegness into the Cayman Islands on a budget of £20. within an ethical framework. asked my assistant not to move while I walked in and out of shot to the right.. and afterwards. ISO 100. but those days are gone. you could trust what you saw in the papers. I walked in and out of the frame to add movement and interest. However. I met a photojournalist in Kabul last year who said she had taken a million shots in the past 12 months – wow! So the truth is implied but not real. I have lost count of the times I have modelled in my own shots because the shot demanded a sense of humanity. below. However. They will tell you they treat digital like they treated film.photographymonthly. and it’s their innate skill which gives them so many great shots in their portfolio – nothing to do with taking a thousand shots a day. I would also point out that given the time and the nature of the photography. All of a sudden you get a sense that this is a busy and vibrant place and the juxtaposition of my movement and the static scene adds a quality that would not exist without a ‘blurred me’. which I placed just in front of the lens to create the perfect adjunct to the glistening sparks. Making the room look full and alive. The [78 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . but they are all part of a decision-making process that allows the photographer to maximise the often-limited opportunity that exists before them. Certain kinds of photography. a sense that this was a busy and vital place to come and dine. or the World Press Photo awards. the Wildlife Photographer of the Year. PM MARTIN MIDDLEBROOK Add lustre to flat images by bringing components into an image.

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but eventually I was able to book a studio in central London. The light flexes were taped to the floor. the background to go out of focus) at 1/125sec. involving anything from 50 to 36. Before you quote. David. fourth from left. which showed in the final results. A selection of her images forms part of the National Portrait Gallery’s permanent collection. Work out how many shots you will give the client so you can cost post-production as you would have costed film and processing in the past. we had all enjoyed the shoot. I had suggested to John that he and his staff arrive at 15-minute intervals.6 at 1/125. Once you have worked out where you want the subjects to stand. an enthusiastic and lively leader. The company of nine people. lining them in a V shape in one. a time when all the members of the company (and I) were available. While photographing I talked to the models to keep them relaxed and focused. WHICH WON THE INNOVATION PRIZE AT THE 2011 LAMBETH BUSINESS AWARDS. two silver umbrellas and a 3ft x 2ft softbox. I also had two Nikon D200 bodies with 18-70mm lenses and 18-200mm VR lens. ask the client for a detailed description of what they want from the shoot. wanted all of his staff photographed for the website and publicity purposes. PM EMILY’S TOP TIPS Try to photograph people in the studio alone as their colleagues may come out with comments that will make them self-conscious. We also didn’t use the backdrop. The available daylight was filled in with the 1.photographymonthly. Take out public liability insurance.CO M [ 81 ] . John has already expressed an interest in having more photographs taken. with John in the centre. and half of them went out to have coffee. It was a long day but it went smoothly. is an events specialist employing cutting-edge technology to facilitate events at conferences for organisations such as universities. Then we set up the lights and started doing tests. We shot both RAW files and fine Jpegs. John Martinez. We used two 8GB memory cards and David formatted them so the numbers were consecutive.000w and a 1. and with them standing more casually in the other. EMILY ANDERSEN / JANUSZ PODRAZIK To read more of Emily’s columns and for more advice from the pros visit the website www. It was placed about 6ft high.500w). While I was shooting. We also did two group shots. The next morning I burned the files on to two CDs and sent them to John. who is efficient. which were shot on the 18-70mm lens at f/5. In fact they all arrived together at 11am. The retouching was finished by 7pm. AND TOOK AROUND 40 FRAMES PER PERSON. John. businesses and charities.4ft to the left of the camera and 8ft away from the model.000 people. The NEF RAW files were processed though iPhoto and retouched on a Wacom tablet using Photoshop and then saved as 16-bit Tiffs. I handheld the camera and shot portrait on the 18-200mm lens at f/8 (to allow Shocklogic’s managing director. The feedback was excellent.500w flash which was set up with a softbox. I drove to the studio in Holborn with all the equipment and David helped to unload it all. had a break for lunch and then continued. This month Emily describes how she organised a busy corporate portrait shoot for an award-winning London business which wanted group and individual publicity shots of all its employees. It took a number of emails and phone calls to arrange I went up on a stool to be higher than the first subject. I had brought with me a 9ft white background roll and stands. We were finished by 2pm. led by John Martinez.EMILY’S PEOPLE EMILY ANDERSEN Emily is a veteran portrait photographer. mark the spot with gaffer tape. three Bowens flash heads (two 1. because the walls were white and any blemishes could be erased in post-production. THIS MONTH I SHOT A JOB FOR A COMPANY CALLED SHOCKLOGIC. a Minolta meter (which we didn’t use) and a tripod. P H OTO G RA P H Y M O N T H LY. Leave 10 minutes between people to allow for any extra time you may need. David was downloading and working with the client and model to choose from the Jpegs the three photographs they liked best. who stood about 10ft away from me under a skylight (the spot where they had to stand was marked with tape on the floor). with members of staff. and took around40 frames per person. experienced and particularly good with people and post-production. Tape down all wires to avoid people tripping over them. as well as an assistant. “WHILE PHOTOGRAPHING I TALKED TO THE MODELS TO KEEP THEM RELAXED AND W W W.


Grant Scott. monthly. MAGNUM PHOTOGRAPHER IAN BERRY DISCUSSES REPORTAGE. enter our contest at www. For your chance to win a copy.PODCAST In case you missed them… WE’RE ON YOUR Thanks to everyone who has listened to our monthly podcasts over the past two years. WAVELENGTH MARCH 2011 ISSUE PODCAST Grant Scott and Sean Samuels speak to National Geographic photographer Jim Richardson about his wonderful landscape work made in the Hebrides. Find out who is the PM Mastermind. TAKEN FROM PM. they are available via the website and can be downloaded from iTunes. THE BACK CATALOGUE All of our podcasts featuring MAY 2011 THE CHANNEL ISLANDS In her new book photographer Beata Moore explores the rich heritage of British and French influences. PM AUGUST 2011 ISSUE PODCAST The Editor of Photography ISSUE PODCAST Grant Scott and Sean Samuels speak about their experiences shooting different subjects and in photographer interviews and different locations 24 hours a day industry news specials are available online at and discuss the work featured in www. Her previous books include Cracow: City of Treasures. reporting from the New York Photo Festival 2011. They also discuss the latest news from the world of photography. sponsored by Nikon. Moore captures the diversity and uniqueness of this much-loved archipelago. and deputy editor Sean Samuels discuss the latest news and developments from the world of photography. Grant Scott. P H OTO G RA P H Y M O N T H LY. JUNE 2010 ISSUE.CO M [ 83 ] . ISSUE PODCAST Grant Scott and Sean Samuels speak about the latest releases and innovations from the world of photography and the interesting people and products they encountered at the Focus on Imaging 2011 exhibition at Birmingham NEC. and beautiful beaches to rural interiors. and the surprisingly varied landscapes of the Channel Islands.photographymonthly. the Olympus XZ-1 and how to shoot glamour. FEBRUARY 2011 ISSUE PODCAST Grant and Sean discuss their time at the CES Show in Las Vegas and reveal all their favourite things. JUNE 2011 SPECIAL PODCAST The Editor of Photography Monthly. worth £16. and deputy editor of Professional Photographer Eleanor O’Kane speak to PM’s deputy editor. In case you missed any. Grant Scott. A Year in the Life of the New Forest and The Square Mile. From bustling harbour towns to remote cliff paths. WIN! W W W.200. Sean APRIL 2011 JULY 2011 ISSUE PODCAST The Editor of Photography Monthly. releases and dishes from Sin City.99. as featured in the December issue of the magazine. SPECIAL ISSUE TEST ZONE AWARDS SPECIAL PODCAST Grant and Sean discuss the winners of this year’s Test Zone Awards. The podcast goes live on 13 July the magazine. and deputy editor Sean Samuels discuss their trip to the city of Rome. go head to head to see who will win the Nikon D3s high-end DSLR worth £4. SPECIAL PODCAST NIKON MASTERMIND FINAL The final two contestants of our Mastermind quiz.

is impressive and the footage is captured beautifully by Edwin Lee using DSLRs for their high-quality ability to shoot time lapse. but there are times when a smooth tracking shot is more desirable. It also fixes the problem photographers and film makers face when using 32GB or greater CF cards which have only a small amount of space remaining or when the battery is removed and inserted back into the camera. He also provides inspiration and news from the frontline and as always has the best films for you to watch. so this month JOHN CAMPBELL turns his attention to camera sliders to suit all budgets. especially when you consider that transferring a 32GB AVCHD video file from the memory stick to a PC will take only 11 minutes – twice as fast as previous SD cards.EASY RIDER HOLD THE FRONT PAGE THE BIONIC MAN Freelance BBC camera operator Johnnie Behiri has made several films with DSLRs. This is yet another great advert for the diversity and accessibility of DSLRs within the film-making fraternity. All the disfigured faces were done electronically in post-production using After Effects. Behiri is capturing history in the making. a documentary shot entirely on a Canon EOS 5D MkII with a RODE VMP microphone during The March for the Alternative in London this spring in protest at government cuts. shot on a Canon EOS 7D. Available in 8GB. It’s not that often we see just one perspective in a documentary. It is impressive on many levels and tells the story of five people afraid of showing their disfigured faces in public. by Shanghai-based artist Zhang Huan. The operation to put it on display was one of the largest for an installation in Hong Kong. www. http://vimeo. with up to 50MB/s transfer rates. It’s pointed and thought-provoking in a world that today is largely governed by the way we look. As part of his MA film. a Canon EOS 5D MkII for the dolly and crane HIGH-SPEED TRANSFERS FROM SONY Sony has released a new memory stick which claims to have the highest transfer rates possible for high-end cameras. but I think this is part of the attraction of this short film. including this short news piece. CANON IMPROVES WRITING SPEEDS Canon has released another small firmware update for the EOS-1D which will improve writing and reading speeds when using UDMA cards. Add the fact that the video was shot on a DSLR – a Canon EOS 5D MkII – and we have another example of low-budget film makers using their skills to create high-end FILMS TO WATCH SKIN DEEP My first film choice this month is a music video by Norwegian film maker Egil Pedersen.expertreviews. handheld effect prevalent on so many film productions can be used to great effect. Sounds amazing. documenting the journey of a Buddhist statue taken to Hong Kong for the first time. www. I am also an art lover and the final choice is a behind-the-scenes look at the construction of the Three Heads Six Arms art installation. not as an observer but as one of the BEST FOOT FORWARD My second film choice this month is A Day in Patr Srisook documented the march. 16GB and 32GB capacities. Capturing groundbreaking surgery. A man who lost the use of his hand in a motorbike accident decided to have it amputated and replaced with a bionic limb. http://www. The imagery really reflects the music’s emotive feel. This stick has been designed to record HD video streams and for high-burst stills shooting. and the operator tries to shoot straight away. http://vimeo. as this patient is only the second person to have opted for this The shaky. The surgeon believes that bionic reconstruction can offer certain patients the best hope of regaining some use of their limbs. The PRO-HG Duo HX is so fast that Sony claims it outstrips the Ultra High Speed SD card when used in its devices. This report once again shows the versatility of the DSLR in news journalism.html [84] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 .uk/memory-cards/1284964/sony-announces-new-highspeed-memory-sticks THREE HEADS SIX ARMS As well as film. The statue. about a pioneering operation in Austria. and a Panasonic DMC-GH2 for the night shoot. a powerful piece of software in the Adobe creative suite.whoisedwinlee. it comes with a 10-year warranty and free file rescue The film was made over three nights on a Nikon D3x and D7000 for the time

lint and moisture in the same way as grease-filled metal ones. giving a more professional touch to your film.5lb (3kg) and can hold up to 10lb ( the Motion Slider 24 is your best the limitations are obvious. This glidetrack is perfect for nearly all situations because the greaseless. £ LOW PRICE For a very basic version of the slider/glide rail. The beauty of this system is that you can also use it vertically. self-lubricating bearings don’t get affected by dust.CO M [ 85 ] .youtube. At only $129 (£80) you cannot afford to ignore it. http://www.FILM SCHOOL Shooting film on your DSLR John Campbell KIT CHECK This month we look at sliders. Designed for weddings and events.html TOP TIP We have looked at a few tracking options this month. allowing you to make almost jib-like movements. http://cheesycam. this slider will serve you well. Wales.80. We will concentrate on the more basic sliders here. The Atlas 10 carries a maximum weight of approximately40lb (18kg) and at $629. An excellent choice for the price of £358. Have a look at this skate dolly for inspiration. The third option is a motorised. especially if it is a long. but it is well worth the price. The great thing about this glidetrack is that you can replace spare parts with little bother. It weighs 6. backyard inventors are coming up with alternatives to splashing out hundreds of pounds. but for short.photographymonthly.glidetrack. maintaining a fixed speed is difficult this way and a shot can become jerky. as it is best to learn camera movement with the simplest kit YouTube has an abundance of mad designers. Here are two films showing exactly how much a sliding rail will give you in terms of creative options.98 (£394) would be a great addition to your portable kit.5kg). with external monitors and matte box attached. programmable slider which can be set to track any time from seconds to hours and is ideal for time-lapse work. If you only have a few pounds to spend and you don’t mind looking a bit odd wheeling a camera strapped to a wheelchair or shopping trolley. The Atlas 10 camera slider is one of its most popular pieces. You can use it as a panning or tracking device and mount it directly on to a fluid for it to be ApBpJP-c4w http://www. One option I used as a student was a wheelchair.html £££ TOP PRICE Cinevate is one of the leaders in creating accessories for DSLR film-making. http://www. then why not? But as the convergence revolution continues. P H OTO G RA P H Y M O N T H LY.cinevate. the new Glidetrack Hybrid System is perfect for medium to large-size rigs. The second is a slider that has a hand crank which is wound and helps to maintain a more constant speed. but there are people out there who love coming up with solutions themselves and have a knack for making their own gear. this aluminium kit will give the look of your film an added dimension. smooth tracking movements. With a tracking length of 24in. The Atlas 10 is a bearing linear tracking system which you can use on virtually any W W W. so you may have to wait a little while BIOGRAPHY John Campbell received his MA in film from the International Film School. which allow you to track a camera over several feet.html ££ MID PRICE Developed in conjunction with Igus. Basic sliders have a sliding rail which manually pushes the camera along a track. http://motionslider. Sliders come in many forms. He won the cinematography award at the Bristol International Film Festival for a short film called Blue Morning You in 1999. This design has seven different tripod mounting plate video_en.homestead. http://www. Although this is fine for most situations. The great thing about some of the slider manufacturers is that you can buy the basic kit and add extras later. from basic to advanced.pocketslider. slow tracking movement. To read more of John’s Film School columns and latest news visit www. He now works as a freelance film maker for public bodies and arts organisations across the UK and mainland Europe.

on a sunny British summer day. so I gritted my teeth. I took quite a few clues from the way he was dressed. I also do the occasional headshot for actors and musicians. in reference to the sculpted marble effigies which were all the rage in previous centuries.” That got me thinking of an analogy: Headshots are like fish and chips – they can be cheap and cheerful from the local chippy. I also TODAY’S EXERCISE To give myself a wide enough range of pictures to talk about I decided to shoot WHAT’S IN YOUR KIT BAG? Travelling light for this job. Most importantly. they used slightly different phraseology. stuck the camera on to ‘P’ mode and shot one frame with the camera upright with centre-weighted metering and another with spot metering. bust has a very different meaning in the UK. tightly framed portrait. something fresh for this article. So I’ve decided to start a campaign to reclaim it! WHY HEADSHOTS? As a professional photographer I shoot headshots for a variety of reasons. and can be given a corporate feel without the use of props or expensive staging. making their beautiful images a lot less beautiful by the time they made it into print.. Some of the replies I received were from ‘battle-hardened’ press photographers who focused on the fact that their creative portraits were often cropped to a ‘tight head’. casual. thought the best way to start this article would be with a definition of what exactly a headshot is. I opted for the actor. as does Sigma and a couple of other lens manufacturers. We had just over an hour to achieve the pictures he needed. our lighting master NEIL TURNER readily accepted the chance to create a great outdoors headshot using only available natural light and whatever else happened to be at hand. Being press photographers though. the few clues you can give with headshots need to be selected and used with skill and subtlety. will test anyone’s skills. Joseph Greenslade is a young and rather talented actor who needed a couple of new pictures for his agent and for his Facebook page. Shooting in available light. the same or similar backgrounds. This used to be my backup. the way his hair looked and his fashionable beard growth. One or two replies came from American colleagues who said the term ‘headshot’ in common parlance over there had more to do with guns and cop shows. Nikon does some very similar kit. dressed up or down. Given the choice between a corporate type headshot and a 10 x 8 style picture of an actor. especially headshots. Smart. who use them for promotional and publicity material – including the ubiquitous 10 x 8 their agents use when putting them up for roles. The business world loves headshots because they allow a lot of people to be photographed relatively quickly and in an entirely matching style with matching crops. Shoot a male executive wearing a jacket and tie and the message is a simple one. require some subtlety and artistry with lighting. served up on a bed of salad with a reduction of pea and be something rather special. While walking to the park we chatted about what kind of roles he was looking for and what feel he thought the pictures should have. My first thought was to shoot directly into the sunlight. Read on to find out how he did it. I used this time to find out what he liked and disliked most about his appearance.SEARCHLIGHT Never one to shy away from a challenge. The marketplace for great value fixed focal length lenses is suddenly rather wonderfully crowded! [8 6 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 NEIL TURNER 2 CANON EOS 5D MKII BODIES CANON EF 28MM F/1. but we seem to know them when we see them. My Twitter enquiries were on the verge of failing when I received this: “A headshot can be anything from a simple passport style ID photo to a carefully and beautifully crafted.. so we met up and headed off to a local park.4 USM LENS CANON EF 85MM F/1. so I turned to the Twitter community to ask my fellow tweeters how they would define it. Most portraits. It isn’t quite as easy to define the equivalents for women. I was struggling to come up with a concise explanation. so they had started to use the term ‘bust shot’. Of course. PM’s deputy editor was keen that I used available light outdoors. I do a lot of portraits for newspapers and magazines and a lot of corporate jobs where the clients want good head-and-shoulders pictures for anything from annual reports and websites to business cards and PR pictures. so when we arrived at the park I started to look around for different options. but they can also be created by a top chef. outdoors. leaving Joseph’s face in the shade (3). but these days I find this type of shot a little bit dull. I have to admit to choosing the worst angle across the sun that I could find – you can see the results in the form of the two really awful pictures shown on page 88 (1 & 2). I ran the definition above past a very experienced picture editor. I have to admit.8 USM LENS CANON 12MM EXTENSION TUBE LASTOLITE 32IN WHITE REFLECTOR/DIFFUSER LASTOLITE 12IN EZYBALANCE (GREY/WHITE CARD) DOMKE J-3 CAMERA BAG . or even something we zap in the microwave. THE BUSINESS WORLD LOVES HEADSHOTS BECAUSE THEY ALLOW A LOT OF PEOPLE TO BE PHOTOGRAPHED RELATIVELY QUICKLY AND IN AN ENTIRELY MATCHING STYLE. Her reaction I was that in the editorial market the term ‘headshot’ has taken on a slightly less than positive connotation. I find it really hard to shoot ‘bad’ pictures. as well as the ones I wanted for this piece. I decided to leave the zooms at home and go with these three amazing value-for-money prime lenses. shoot them in an open-necked shirt and you are making use of a different shorthand. Good headshots require skill and attention to detail.8 USM LENS CANON EF 50MM F/1.


the less useful I find shooting against the light without any form of fill flash. so I find working with a custom white balance a lot more successful. I wanted to move [8 8 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 Joseph into a shaded area under some very tall trees with dense foliage so that we could shoot a few frames with a variety of backdrops. My favourites are walls and foliage. Getting your exposures right when the light on the subject is nice and even is a lot easier.dg28. and works out of London and Bournemouth. the motion of the trees in the wind. The higher the angle of the sun (and we were shooting near midday in late May in London). Even this isn’t perfect. www. which is why I made the decision early on to move to a different area of the park. and has been commissioned by a range of PR. The sun moving. BIOGRAPHY Born in Bournemouth in 1964. He also writes about photography and teaches across the UK in universities and colleges. Not all shade. I’m not a fan of auto white balance. however. He spends much of his time shooting executive portraits and editorial commissions for magazines and newspapers. He is a vice-chairman of the British Press Photographers’ Association. but the white balance shifts very dramatically. so I had a go at both while we were under the trees (4 & 5). Reflectors often make the subject uncomfortable. commercial and editorial clients. is created equal and the dappled light under trees can cause as many problems as it solves. INTO THE SHADE When the sun is as harsh as it was on the day we were shooting it is often better to avoid direct sunlight and shoot in the . Neil Turner has been working professionally as a photographer since 1986. When shooting under trees and near large grassy areas you can often get a strong colour shift. however. so I often use a Lastolite EzyBalance (grey card).1 2 3 4 5 6 find that I waste a lot of post-production time getting these pictures right.

but I prefer to shoot colour and then convert the files later. THE BRICK WALL A lot of photographers who shoot headshots for a living use brick walls. My cameras have a black-and-white mode. I was keen to shoot a few really tight.8 aperture on the 85mm lens to play with some very shallow depth of field. Joseph is about an inch taller than me. It’s a technique that some people love and others really don’t get. I have always liked what one picture editor used to call ‘egg cups’ – pictures where you crop through the subject’s forehead. There’s no better way to get the colours how you want them than by adjusting the RAW files using a quality RAW conversion application (my favourite is Adobe Photoshop CS5’s Camera Raw plug-in). Departing a little from the format of the actor’s headshot. so I always give people alternative options shot at f/5. It’s amazing how often the ground or the sky become backdrops to my pictures. Joseph was keen on having some black-and-white pictures taken because the theatrical world still uses them. so sitting him on the arm of a park bench made it possible for me to shoot down a little and use the ground as a background. I decided that we should conclude the shoot by relocating to across the road from the park where there was a brick wall in the shade near a set of white gates. I have always loved the concept of getting the subject’s eyes pin sharp and their ears out of focus. as well as those which used colour to the best advantage. 8 The angle you shoot from is hugely important too. I also used this opportunity to make the most of the fast f/1. giving the impression that you could sit a boiled egg there. landscape format pictures. many environmental factors can alter the colour of the light. W W W. The vast majority of people look better and more relaxed if you shoot from above their eye line. just in case (7). so I worked hard to shoot pictures which relied on tone and shadow.6 or f/8.MASTERCLASS Getting the headshot right Neil Turner 7 NEIL TURNER a white van driving past (if you are shooting next to a road). P H OTO G RA P H Y M O N T H LY. metal railings and wooden fences as out-of-focus backgrounds. I think that it’s the simplicity they offer that I find so useful (6). My plan was to use the wall as a background and the gates to reflect diffused light into Joseph’s face (8).CO M [ 89 ] .

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almost anything can look good. I would always start to shoot something like this with something around the 85mm mark.8 at ISO 200. Getting the hang of creative headshots will improve your photography. subject matter and composition – and when there is so little happening in a headshot you have to get all three right. Use the genuine simplicity of the composition to your advantage by choosing very carefully the way you use light. The wider the lens. then three metres away from it. Getting it a long way out of focus is the safest bet. Turning Joseph away from the gate I shot two more frames (11 & 12) to demonstrate just how much further out of focus the wall would be if he moved two metres. I have no idea which picture Joseph and his agent will choose but I have gone ahead and converted one of my favourites to black and white using the excellent options in Adobe Photoshop CS5’s Camera Raw plug-in (see page 87). in that light. Subject two metres from wall. The essence of a good headshot is doing the basics really well.photographymonthly. You have to choose background tones and colours to complement your subject’s colouring. The angle of the wall disappearing into the distance gave me a very nice out-of-focus effect and the light on Joseph’s face was getting much better too. Subject three metres from wall. and once it is reduced to little more than a blur. You can start to use wider lenses once you have overcome their personal space issues. no matter who you are and what else you shoot.5. but I’d also try anything from 50mm right up to 200mm if I thought that it would work for that subject.CO M [ 9 1 ] .5 at ISO 200. Shot at 1/200sec at f/4. You also have to make sure that your background doesn’t fight with the foreground – a background should be seen but not noticed. Don’t be fooled into thinking that headshots are easy. A lot of people don’t feel comfortable if you get close enough with a 50mm lens on a full-frame camera to fill the frame with a head and shoulders composition. that I often have to drag myself back to the task in hand. like me. 14 For more masterclass tips visit our website www. PM NEIL TURNER Canon EF 50mm f/1. Having a simple printout of the kind of picture you are looking for is a useful thing to have tucked in your bag if. 13 CHOICE OF LENS Choosing which lens to shoot with is an important factor in giving your headshots a ‘feel’ that takes them beyond ID photos.8 and the second at f/4. you need to remind yourself that you are shooting something specific.4 USM. Starting a shoot with the longest lens can be a great way to relax nervous subjects. If you look at the two frames above (9 & 10) you can see what a difference the depth of field makes. With the first one taken at f/1. WORDS OF WISDOM I’ve said it before. There are three things that make a photograph – light. I shoot a lot with a 24-70mm and 70-200mm.8 USM.250sec at f/1. The format of the actor’s headshot seems to have moved on very little since the 1920s and remembering exactly what some of the pictures needed to look like was one of the challenges of this assignment. angles and crops. I’m so used to shooting pictures that work for me.MASTERCLASS Getting the headshot right Neil Turner 9 10 11 12 Shot at 1/1. W W W. experimenting with composition and light. Done well they are Gordon Ramsay’s finest beer-battered cod and chunky chips. A command of the basics is just as important in photography as it is in the kitchen. there is a very different feel to the two otherwise similar Canon EF 85mm f/1. P H OTO G RA P H Y M O N T H LY. so these are often my references. the harder you must work to stop the background becoming part of the content of the picture (13 & 14). but I’ll say it again. Done with a bit of experimentation they might well be more of a Heston Blumenthal feast. A 50mm lens will give a different perspective from an 85mm or even a 70mm. on that day. Ian Yates Hot stuff READERS’ PICTURES Sailesh Patel Rituals Sharon Down Elephant festival. effects and personalised text. With this useful software you can take your images and videos captured on cameras.99. To enter and for full terms and conditions. visit www. Kerala Andy Barnes NYE fireworks 2010-2011. Your work can then be burned to disc to be enjoyed on a TV or PC. simply upload your best festival pictures to the Photography Monthly gallery. You can even add background music. scanners or memory cards and transform them into multimedia slideshows. Sydney Harbour Bridge Nancy Young Puerto Rican dancers [92] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 .TAKING PICTURES IN! W FOR YOUR CHANCE TO WIN a copy of Magix PhotoStory 10 worth £39. mobile phones.

It goes to show that spontaneous moments are often the ones that create the most enduring images.READERS’ CHALLENGE Upload to our gallery to win prizes Festivals PM TEAM PICTURES JESSICA LAMB — EDITORIAL ASSISTANT PHOTOGRAPHY MONTHLY I took this picture while attending a music festival last summer and love the composition. I took this photo a few years ago and love how the graphic shapes are created by the crowd and the street artist.photographymonthly. Amid the pig roasts and archery demonstrations I found this tin man. with the sun behind my friends. SEAN SAMUELS — DEPUTY EDITOR PHOTOGRAPHY MONTHLY Notting Hill Carnival is a great place for colourful and interesting reportage work. I was sitting on the ground and. managed to create a silhouette effect. GRANT SCOTT — EDITOR PHOTOGRAPHY MONTHLY This was taken at an event to celebrate the Spanish New W W W. There were no health and safety concerns! ELEANOR O’KANE — DEPUTY EDITOR PROFESSIONAL PHOTOGRAPHER While driving on holiday in the Loire Valley in France we stumbled across a medieval festival taking place in the grounds of a castle in a tiny village. The streets were filled with 40ft-high monsters breathing fire and shooting fireworks over the crowd’s heads. Menorca For more readers’ images and to upload to the gallery visit the website at www. and how both elements are framed by the police officers in the foreground. P H OTO G RA P H Y M O N T H LY.CO M [ 93 ] . Tim George Jaleo.

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lcdvf.html CAVISION MHE3-6X LCD VIEWFINDER The Cavision MHE3-6X magnification optic and hood does not contain a fastening monthly. Viewfinders and loupes allow the operator to bring their eye closer to the camera while blocking out any light restricting their view of the LCD screen. wireless grip and all original accessories can be used while the loupe is attached.8x LCD viewfinder makes it quick and easy to attach and remove. JESSICA LAMB selects some of the best available on the market today. Suitable for most 3in LCD www.8x magnification and allows the user to easily view critical focus while filming in live view mode. Specifically designed for use with the Canon EOS 5D MkII. The loupe also comes with a neck lanyard and a flippable eye cup for instant left or right eye usage. —BEST FOR— DURABILITY —BEST FOR— CANON USERS GO ONLINE For more kit and gadget news.CO M [ 97 ] . The following products can assist in achieving great results when shooting both stills and film. A host of other accessories are available for DSLR users to help achieve superior film quality. who now have relatively inexpensive kit options at their disposal with which to create fantastic video. The accessories (featured on page 98) comprise the base plate and a swing-away connection piece. additional features: • Dioptric correction: Yes • Splash and dust-proof • 40mm clear aperture —BEST FOR— LCDVF LOUPE The LCD ViewFinder features 220% magnification and is tailored to fit most 3in LCD screens.PHOTO ZONE Loupes and viewfinders Jessica Lamb OUT OF SIGHT If you’re serious about DSLR film making. Some photographers might consider this risky but others may see it as an advantage as there are no adhesives involved. but can be attached to the camera body’s tripod socket by way of the unique base plate available when bought as part of the MHE3Q-P DSLR package. visit the website www. this viewfinder is strong.cavision. COMFORT PROLITE 2. $39. they stabilise and magnify your LCD screen and can greatly improve your results. $159 (£99). well-constructed and offers 6x magnification. additional features: • Dioptric correction: No • Cavision also offers handheld viewfinder kits • Dioptric correction: No • Ideal for use in all weather conditions • Comfortable rubber eye cap www.99 (£25). additional features: $169 (£105). the Prolite features 2. Battery.8X LCD VIEWFINDER The magnetic attachment system on the Prolite DSLRs are often the camera of choice these days because of the wide variety of interchangeable lenses and f-stops available. which give more options at affordable prices. The LCDVF’s universal magnetic mounting interface allows rapid attachment and removal. then viewfinders and loupes are a must-have. Simply by clipping them on to the back of your camera. P H OTO G RA P H Y M O N T H Increasingly DSLRs are being favoured over professional video cameras by film makers and cinematographers. Internally it is lined with felt to minimise reflection and is well constructed W W W.

99 Euros (£44). Using three German glass lenses in its optics. additional features: • Dioptric correction: Yes • Enlargements of the monitor image • Outstandingly suited to Live View and video filming • Additional support at the eye to reduce camera shake —BEST FOR— www. Featuring lightning-fast fixing and loosening at the display frame. ACCESSORIES: REDROCK MICRO MICROFINDER SUPPORT The microFinder loupe accessory from Redrock Micro makes it possible to secure the HoodLoupe 3. additional features: • Dioptric correction: Yes • Cinema straps (rubber bands) are available to attach the loupe to the camera for continuous video use.0 is available as part of Hoodman’s Cinema Kit Pro.99 (£117).PRO 3. The viewfinder allows the operator to keep a close eye on exposure and creates superior viewing of the monitor in all weather conditions. which can also be found on the Hoodman website. $184 (£115) www. • The HoodLoupe VALUE ACCESSORIES: CAVISION LCD VIEWFINDER SET The MHE3Q-P connection kit from Cavision includes the MHE3-6X LCD viewfinder. the HoodLoupe 3. The HoodLoupe 3.0 DigiFinder manufactures a host of different viewfinders and accessories. 49. the DigiFinder. Offering 2. Rubberised attachment rings are often favoured by photographers as they leave no marks or damage to either the camera body or the loupe.0 transforms the camera’s display into a video viewfinder and can assist in creating great shooting GO ONLINE For more kit and gadget news. The kit includes the microFinder loupe bracket and rubberised retaining £30. The loupe shields the camera’s LCD display from ambient light. swing connection piece and plate with 1/4in camera screw and 1/4in thread for tripod attachment.0 to the rear of a DSLR without any modification or use of adhesives. www.0 Hoodman manufactures a vast range of photographic equipment and accessories. the eyepiece collapses down to just 2in. Worn around the neck.99 (£50).0 provides a 1:1 magnification ratio for true LCD screen viewing. making it great for slipping into camera bags.75x magnification. visit the website www.videogear.88 www. the loupe is not fixed to the 3. but used when added precision is needed when viewing the monitor.0 comes with a storage case and neck lanyard. The base plate allows the LCD viewfinder to be attached directly to the camera where other attachment methods might not be possible.digifinder.PHOTO ZONE Jessica Lamb Loupes and viewfinders —BEST FOR— EASE OF USE HOODMAN HOODLOUPE 3. priced $189.hoodmanusa. $ [98] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 .com DIGIFINDER. thus preventing distraction from shadow or glare.


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letusdirect. Unlike other viewfinders on the market it uses totally customised optics.zacuto. (It is only available with the Hoodman mounted. P H OTO G RA P H Y M O N T H LY. $199 (£125). Adjustable from -2. The Hawk features a mounting plate as standard which is compatible with most current DSLRs. GO ONLINE For more kit and gadget news.CO M 0 1 ] 1 ] W W P H OTO G RA P H Y M O N T H LY. It is currently available for the Canon EOS 5D MkII. The iDC Viewfinder will mount to any standard 1/4in diameter. mounts to the camera using the Jr. The Jr. 20 threads per inch (1/4”-20) quick-release tripod.5x focusable magnification and a 40mm diameter Zacuto optical design visit the website www. The iDC Viewfinder sells for only $199 with the Hoodman —BEST FOR— PORTABILITY $375-$450 (£234-£281). additional features: • Dioptric correction: No • Lifetime warranty www. The Z-Finder monthly. then the following viewfinders give you some great choices.0 included www. additional features: • Dioptric correction: Yes • Hoodman HoodLoupe 3. W.0.photographymonthly. doesn’t have a diopter but has an adjustable focal point using the Zacuto Extender Frames which allow the film maker to stack frames semi-permanently on to the skirt. The Jr. The operator must unscrew the tripod plate from the bottom of the camera to release it. the Letus Hawk can accommodate both short-sighted and long-sighted photographers. additional features: • Dioptric correction: Yes • Letus offers a 10-day return policy – if you’re not happy with the product you can obtain a full refund iDC LCD VIEWFINDER The iDC Viewfinder package is a sturdy all-aluminium bracket complete with the new Hoodman HoodLoupe 3. the robust Letus Hawk offers 2. —BEST FOR— LETUS HAWK VF Constructed from carbon fibre.CO M [ 1 [ 0 . stainless steel mounting bracket. is a great entry-level W W W. The Jr.php?p=pr oduct&id=118&parent=30 —BEST FOR— VALUE ZACUTO Z-FINDER JR. offers 2.html For more news and reviews visit our site www. The mounting bracket only works with small-bodied DSLR cameras such as the Canon EOS 5D MkII and Canon EOS 7D.idcphotography.75x magnification and attaches to the camera without the need for any modifications.5 to +1. The bracket mounts to any 1/4”-20 threaded tripod and the viewfinder is held in place with pressure from the fork of the bracket it sits in.5 diopters. LIFETIME WARRANTY $265 (£165).) The loupe isolates the camera’s LCD display from ambient light to eliminate glare or shadows.PHOTO ZONE Loupes and viewfinders Jessica Lamb BLOW THE BUDGET If you are able to spend a little more or are wanting to splash out on some top gear. the Canon EOS 7D and the Nikon D300s. This must be sandwiched between the tripod plate and camera.

.ALL ROADS The G3 picked up detail well.

Readers familiar with Photography Monthly’s reviews will already know that we try to concentrate on what is creatively possible with a camera rather than focus on any flaws found within the technical spectrum. the company is once again ahead of the game. not the kit.CO M [ 1 03 ] .” SEAN SAMUELS The G3 is available in three colours – red. but handsome enough to garner intrigue from passers-by. The layout of buttons is clean. where speed and discretion are of the essence. Something I have not encountered before on the back of a camera is a button with the continuous shooting option W W W. all that remained was for me to duck in and out of traffic and Panasonic is at the forefront of the compact system camera charge and with the release of its Lumix DMC-G3. clear and self-explanatory. PM deputy editor SEAN SAMUELS was in Rome at the press launch of the camera. but with a smooth feel and a solid handgrip it felt comfortable in my hands. Thankfully I found the G3 was more than up for the job I had in mind. beautiful women and sharp-dressed men. “WHILE ON THE MOVE THROUGH THE COBBLED STREETS AND SQUARES I PINPOINTED THE SERIES OF IMAGES I WANTED TO CREATE AND SET ABOUT ACHIEVING THEM. P H OTO G RA P H Y M O N T H LY. Every camera has its limits and it is down to the photographer. At the time of going to press the G3 is the world’s smallest compact system camera complete with an electronic viewfinder.TEST ZONE Camera review Panasonic Lumix DMC-G3 LEAD TO… ROME HAS LONG BEEN A SOURCE OF INSPIRATION FOR PHOTOGRAPHERS the world over. it really is small. While on the move through the cobbled streets and squares I pinpointed the series of images I wanted to create and set about achieving them. to solve problems that arise when shooting. so it was with much anticipation that I found myself testing the Panasonic Lumix DMC-G3 while on a press trip to launch the company’s latest compact DSLR. making it easy to navigate the menu and access all the necessary functions. It is a city filled with incredible architecture. intriguing street characters. The rear of the camera features a large 3in vari-angle LCD screen with the bulk of controls over on the right-hand side. It was made for street photography. to move between bright sunlight and deep shadows so I could capture the many speeding mopeds and their glamorous drivers darting all around me. With the G3 set to manual on settings I needed and a gorgeous 25mm Leica DG Summilux f/1. At just 115 x 84 x 47mm in size and weighing 336g (body only). which earned his admiration in the short time he had with it.4 lens on the front. black and grey.

99 Nikon Coolpix P500 Our Price £329.99 Our Price £179.99 £307.99 NEW! Stills or movies.00 Nikon Coolpix S3100 Our Price £109. delivery from £ 08450 70 90 50 Lines open 8:45am-5:45pm Monday .00 Accessories £194.00 Panasonic Lumix Panasonic Lumix Pentax K-5 DMC-TZ20 DMC-LX5 Body Only Our Price Our Price Our Price £279.99 £419.00 Our Price £6.089. capture your story Lightest System Camera The World's Smallest & DMC-GF3 NEW! Q Digital Mirrorless Compact Our Price from £514.99 Olympus E-PL2 + 14-42mm II Our Price £ £364.179.0 ColourVision Spyder 3 Express Epson Stylus PX820FWD Popular Macro Lenses £364.99 SEE WEB £209. Prices fluctuate so please see website for our latest low prices.99 Samsung WB1000 Our Price £139.99 £1. E&OE .99 Nikon D7000 Body Only Our Price £889.99 £254.5. For orders under £100.00 SLR Lenses Nifty Fifties £94.99 £899.99 £629.99 Nikon D3100 + 18-55mm VR Our Price £439.50 Our Price £244. please visit our website For 1000s more accessories.99 £429.00 Popular Telephoto Lenses Adobe Photoshop Elements 9.00 Canon EOS 7D Body Only Our Price £1.99 £359.99 D5100 + 18-55 £649.50.99 £299.99 Compact Digital Cameras Canon Digital IXUS 300 HS Our Price £249.99 Canon Canon PowerShot S95 PowerShot G12 Our Price Our Price £329.99 latest price on this NEW camera Please visit our website for our Please visit our website for our latest price on this NEW camera Digital SLRs Canon EOS 550D Canon EOS 600D + 18-55mm IS + 18-55mm IS Our Price Our Price £598.99 £409.99 Nikon D300s Body Only Our Price £1.45am .99 Pentax K-7 Body Only Our Price £ Our Price £ Open Mon-Sat 8.95 £688.00 S2800HD Our Price £149. please visit our website Please ask / see website for our massive savings off bags call us on 08450 70 90 50 for the latest NEW PRODUCTS in 2011 & beyond! Visit us at Kenro Hurricane Blower Filters Receive an extra Lowepro Slingshot Manfrotto 055CXV3 C/Fibre Tripod 202 AW 10% off on mention of this advert Our Price £44.99 For even more lenses filters and hoods.00 £354. All prices include VAT @ 20%.99 Our Price £59.Saturday * Find your own angle I am your Guide Our Price from £799.45pm ** Delivery to UK mainland is FREE for orders over £100.

MPO (3D only). Continuous (H = 4fps. W W W. SH = 20fps electronic shutter at4MP only). 46.” TECH SPEC: PANASONIC LUMIX DMC-G3 The G3 produces a pleasing colour palette. the top is less cluttered and there is now a stereo microphone in place for capturing sound when shooting 1080i AVCHD videos. With more functions such as this included on the back of the camera.6MP (total) 4.460k-dot. 544g approx (with 14-42mm lens and SD card) £548. Adobe RGB 144-zone multi-pattern sensing system SD / SDHC / SDXC 1/160sec max No. BUT THIS IS A MATTER OF TASTE. Self-Timer (2sec or 10sec) Micro Four Thirds Yes 1.44M-dot. P H OTO G RA P H Y M O N T H LY.2mm SENSOR OUTPUT SIZE LCD FILE FORMAT 83. vari-angle touch screen LCD Jpeg.592 x 3. lens-based where applicable Yes Single.920 x 1. and 720p HD 1. On the left of the camera is a MIC/Remote socket.CO M [ 1 0 5 ] . M-Jpeg (movie only) 1/4. I readjusted my grip to avoid pressing the button by accident and it did not happen again. AF Tracking. including an HDMI port for connecting the camera to an HD television or monitor. A. This meant I missed more than one shot because the camera was locked into its 10-second countdown. 1-Area.448px (4:3) 3in.7mm 115.264) format. S. 848 x 480 at 30fps and 1. and a one-touch Intelligent Auto Plus (iA+) button for switching to a beginner-friendly shooting mode.. AVCHD. GN 11 160-6400 366g approx (body only).7x mag (in 35mm terms) electronic viewfinder Single AF. which is good because Panasonic has increased the video offering on the G3 with full 1.280 x 720 at 30fps. M. Creative Control. Focus Area control: Face Detection.. Raw. Raw + Jpeg.080 movies at 60/50 frames per second. I found that on occasion while I held the camera by its grip to my side that I was turning on the timer.6mm (Depth) SHUTTER SPEEDS EXPOSURE MODES COLOUR SPACE METERING SYSTEM MEMORY CARD MAX FLASH SYNC BUILT-IN IMAGE STABILISATION DUST REDUCTION DRIVE MODE LENS MOUNT LIVE MODE VIEWFINDER TYPE FOCUSING MODES AF POINTS BUILT-IN FLASH ISO WEIGHT SEAN SAMUELS PRICE (AT TIME OF RELEASE) Live MOS 16.280 x 720 movies at 60/50fps. Pinpoint 23-area Yes. IT IS A POWERFUL CAMERA IN AN INCREDIBLY SMALL BODY AND I DEFINITELY HAD FUN RUNNING AROUND THE STREETS OF ROME CAPTURING THE STREET LIFE. 23-Area.99 (body only) combined with the timer. both in the AVCHD (MPEG-4/ H. In addition the camera can record Motion Jpeg movies at 320 x 240 at 30fps. I can’t think of a situation where I would use the G3’s touch screen to set the focus point or capture an image. ASIDE. 0. which can be used with the optional remote shutter release and external microphone. Once I was aware of this. Manual Focus. C2. which makes it easier to share videos online. iA+ (Intelligent Auto+) sRGB. There are two connection ports.000sec-1min (bulb to approx4 mins) P.TEST ZONE Camera review Panasonic Lumix DMC-G3 “I CAN’T THINK OF A SITUATION WHERE I WOULD USE THE G3’S TOUCH SCREEN TO SET THE FOCUS POINT OR CAPTURE AN IMAGE. 640 x 480 at 30fps. Scene. however.080i HD 1. but this is a matter of taste. I can see how it would be useful when coupled with the vari-angle nature of the screen for shooting with the camera high above the head or low down.” “MY CLUMSY FINGERS It is the perfect camera for candid street work. C1. Continuous AF.

which allows a user to select preset image effects (Expressive. I have no doubt that. it is a powerful camera in an incredibly small body and I definitely had fun running around the streets of Rome capturing the street life the way I saw SEAN SAMUELS Fast autofocus tracking is available. Sepia and High Dynamic) to apply at capture. the camera was producing well-exposed. and Digital Red-eye. 16:9 and 1:1 formats with the image cropped accordingly. which produces images with a 4:3 aspect ratio. including Peripheral Defocus. saturation and noise reduction for these modes. especially when sliding between images or zooming in to examine detail. which increases exposure only in the underexposed areas of an image. but this can be changed to 3:2. image stabilisation and quick autofocus. which makes it easy to achieve shallow depth of field. Natural. unlike the Romans.photographymonthly. If the company continues to listen to photographers and develop its imaging technology in line with what they say. sharp pictures in a variety of environments by automatically choosing key settings such as ISO speed and turning on Face Detection (up to 15 faces). Good in manual [1 0 6 ] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 . which can be used in any of the advanced shooting modes and in video mode. Inside the G3 is a new 16. Requiring little more of the user than to point and shoot. the G3 is also an impressive point and shoot recreating scenes well. Some of the other photographers on the shooting tour were using the G3 set in its Intelligent Auto mode and the results were impressive. but the grainy. PM www. In short the G3 is a good little camera and I would recommend it to anyone. Monochrome. My clumsy fingers aside. For more news and reviews visit our site www. The names are different from those used in earlier cameras to better reflect the world of film: Standard. Scenery. Panasonic is creating a powerful empire with its line-up of CSCs.” Detail in the shadow is reproduced well. from the complete beginner to the more advanced photographer looking for a compact backup to their DSLR. I knew from the start I wanted to convert the images I took to black and white as it would suit the quality of the images the camera was recording. The mode also includes Intelligent Exposure.TEST ZONE Camera review Panasonic Lumix DMC-G3 WE LOVE IMAGE QUALITY SIZE WE HATE NEW BUTTON ARRANGEMENT PRICE “IN SHORT THE G3 IS A GOOD LITTLE CAMERA AND I WOULD RECOMMEND IT TO ANYONE. Retro. For those wanting the camera to do most of the work. there is the Creative Control option. almost creamy. There are some cameras that would have been able to cope with the low light situations I found myself film-like effect produced was pleasing. sharpness. FROM THE COMPLETE BEGINNER TO THE MORE ADVANCED PHOTOGRAPHER LOOKING FOR A COMPACT BACKUP TO THEIR DSLR. Knowing I wanted to turn my colour images into black and white I played with these settings in-camera before shooting to help with tonality in the final images.3 x 13mm. Portrait and Custom. High Key. This engine processes each image file in two ways and then combines the results to produce an image with lower noise levels and this was certainly evident when I opened up some of the RAW files I had Just as the Romans once did.6-megapixel Live MOS sensor measuring 17. There is also the same Venus Engine VI FHD processor as the Lumix DMC-GH2. It is still possible to change the contrast. which automatically detects and removes red-eye. Panasonic has also extended the coverage of the AF system so it can now operate over the G3’s entire imaging area. I also found it great for interacting with menus. Vivid. but for those wanting more input there are Photo Style modes (previously called Film modes). Also catering for the beginner are scene modes. their empire will be here to stay.


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It features 96 individual 5. the power can be altered via a dimmer switch between 25% and 100% for precise. I would suggest the Lastolite EzyBalance grey/white card for $258 (£161). The white side of the card is also an excellent tool to reflect added light on to your subject to lessen harsh shadows if you’re working with close-up subjects. plus the bracket. with HD video capability and image stabilisation.280 x 720p at 30fps) with advanced movie shake reduction mode which automatically compensates for blur due to but can be found more cheaply on the internet if you look hard enough. whereas the Ray Flash is camera and flash specific to Nikon and Canon. at around half the price of the LitePanels MicroPro. this camera is easy to operate. I cannot afford the LitePanels MicroPro. yes. Would this help? Often cameras under or overexpose an image because they are trying to adjust and expose for an average middle (or 18%) Grey. The Orbis fits almost every camera and flashgun effect and 3. So. In theory. The beauty of LED technology is that it offers heat-free operation. P H OTO G RA P H Y M O N T H LY. affordable cameras packed with features. The back of the grey card is completely white. Using either five AA batteries or a variety of adapters and cables. The market is packed with a variety of well-built. The recently-launched Pentax Optio RS1500.600k Pure Colour Power LEDs which give a very clean and natural or in your photo-editing package. The Ray Flash is mounted to your camera via the hot shoe while the Orbis is mounted underneath your lens. then hold the grey card in the same light as that falling on to your subject. and are useful alternatives to costlier dedicated ring flashes. Its ultra-thin. except Sony. and does not require a bracket. effectively converting it into a ring flash. which is not included. a 28mm wide-angle4x optical zoom lens. set your in-camera metering to spot or priced at £149.CO M [109] . It produces a hard light quality and is efficient and compact. The Kailite is supplied with a white diffusion filter for a soft light This month KELLY WEECH answers your questions about kit to help you make the right choices. and is available from www. is available from www. It features an impressive 14-megapixel CCD sensor. smart and stylish. The Orbis. making it ideal for a first-time user. all-aluminium design will appeal to someone looking to carry a camera around in their pocket.99. As there is not much of a difference in price between the if you are metering from a grey card initially the exposure is already set for 18% so you should get the correct exposure for your Q Q Q combination. A friend suggested that I should invest in a grey card. a 28mm equivalent lens and 5x zoom. www. Thirdly. A bracket is available to hold the flash steady but you would also need to connect the flash to your camera with an off-camera TTL cord.orbisflash. priced at £ for £152. I AM STRUGGLING TO GET the correct exposure and colour balance in-camera. This can be used either in-camera to set a custom white balance. It provides 16:9 coverage for a wider and softer light spread without creating any hot I AM LOOKING TO INVEST in a light panel to use with my DSLR. Another benefit of using a grey card is that it corrects the colour balance.general-imaging. The Ray Flash is available from www. decide which ones are most important to you and make your choice W W W. Remember that if you are using centre-weighted metering ensure you fill the frame with the grey card. the Ray Flash is thinner and smaller than the Orbis. The adapters work by channelling light from your flashgun into rings of light. To meter from a grey card.warehouseexpress. It has a 14-megapixel sensor.1 megapixels. The outside of the camera can be customised again and again using pre-cut foils so you can give it your own individual stamp.99. If you are looking for portability. The Orbis is larger and appears to give a softer and more even effect. What is your advice? Ring flash adapters can give great results.200k daylight to tungsten conversion filter which attaches magnetically to the front. the E1450W from GE’s Power Series is also a strong contender. only drawing nine watts of power. especially when used as a fill-in light for portraits or macro photography. with the flash placed vertically inside the ring flash. flicker-free control.YOUR QUESTIONS UPGRADE I AM LOOKING TO BUY a compact camera for my young niece for under £100. Here are three which I think would be particularly suitable for your niece’s requirements.99 from www. it is available from www. I think you should study the factors I have outlined.4x wide-angle zoom and HD video recording (1. It is priced around £79 from www. is ideal for the style-conscious photographer. The Kailite HDV-Z96 LED Panel Lite can be attached via the flash hot shoe to most DSLRs. Priced at £ You should also take a look at the Panasonic Lumix DMC-S3 (pictured) which features 14. Simple.pentax. Any advice? In recent years compact cameras have dropped in price and now offer better specifications and value than ever before. so is there a cheaper alternative? The Kailite HDV-Z96 LED Panel Lite is a great optical image stabilisers and 720p movie recording. Q I WANT TO CREATE A RING FLASH EFFECT but cannot decide whether to buy the Orbis or the Ray Flash adapter. it would help you.ray-flash. It has an RRP of £119. The light meter in the camera cannot see colour and so measures the amount of reflected light in shades of grey. PM For more information on upgrades visit our site www. which can be used to capture a correct white balanced image.


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As a photographer you have to make up the script as you go along. As the musician has time constraints laid down by the demands of the music. This isn’t simply about the stress of time passing when trying to capture something transitory in an image. We needn’t rehearse as assiduously as a concert pianist. will you get to wait – and perhaps wait and wait – for the ideal moment before pressing the shutter. THERE’S THE ADDED DEMAND OF STRIVING TO ATTAIN A PARTICULAR TECHNICAL AND/OR ARTISTIC STANDARD. Joking aside. A deep understanding of your subject in conjunction with mastery of your gear will result in a finer performance. then pick a lens. (An artist friend told me a painter can never be truly surprised by something they create as they have lived with its creation over a period of hours. Getting the image can give one the feeling of elation and relief that a tightrope walker has when they finally step on to solid ground. The second. then set up the camera. do I have time to do this subject justice? Will this image live up to those created by my peers or will it even match those I’ve already made? It seems to me that making a photograph is much closer to a live performance than any other Water works Abandoned diamond mine water processing plant. You’re envisaging all the faffing around you’ll have to do to distil what you see in front of you into a photograph. and arguably harder. bending it to their will. The photographer needs to shape a fleeting moment. What a performance! PM www. performance pressure. the actor needs to bring all his craft to bear to give the best interpretation. Great photographers don’t use screenplays or scores. Painters have often emphasised the time spent on creating their works as a sign of the skill needed and derided photography as a mere effortless.into-the-light. but regular practice will pay off when it comes to having to make an image quickly. then open the To read more of David’s columns visit the website www.FSTOP DAVID WARD David is a professional photographer with more than 20 years’ experience. It all seems like a lot of work and you would rather just sit back and drink in the scene. if not weeks or – for the chronically tardy – years. And (once again) there’s often precious little time in which to do it. Of course. feat is the mental task of creating a composition on the fly. so the photographer often has the time pressure of a world constantly in flux. that make photography so addictive. which is akin to a musician’s command of their instrument. And the two always go hand in hand. There’s the added demand of striving to attain a particular technical and/or artistic standard. but at least he has the scaffolding of the text. With enough preparation the camera will [114] P H OTO G RA P H Y M O N T H LY AU G U ST 20 1 1 DAVID WARD become an extension of your mind’s eye and you will be able to operate it without the time-lag that conscious thought introduces.photographymonthly. Namibia. we need to have a degree of mastery over the equipment. It’s like the difference between a pianola and a concert pianist. A KEEN PHOTOGRAPHER STANDING IN FRONT OF AN AWESOME VIEW BUT YOU CAN’T BE BOTHERED TO TAKE THE CAMERA OUT OF THE . First you’ll have to set up the tripod. and it moves beyond the merely mechanical. then assess the exposure before deciding whether or not you need to use filters and. He shoots large format and is drawn to the abstract image. But surely the combination of skills that I have described is equally as extraordinary. DO I HAVE TIME TO DO THIS SUBJECT JUSTICE?” visual art – with the possible exception of Rolf Harris’s output on TV. This month David ponders the enormous amount of information a photographer must process before pressing the shutter and why it can often be a daunting task. Making a photo is more like playing experimental jazz than performing a piece from sheet music. Firstly.) Perhaps it’s being so firmly rooted in the now. only after all that. SO THERE YOU ARE. they extemporise. mechanical copy. You could leave the camera on ‘P’ but that’s unlikely to give you the artistic control you need to make the most of a scene. In a way. Elizabeth Bay. I feel there’s another reason why making an image might seem daunting. you are under more pressure than an actor reading lines. it’s closer to improvisational comedy (though at least the hecklers aren’t on location with you!) than acting in a Shakespeare play. Let’s just think for a moment about what’s involved when we make a photograph. AND THE TWO ALWAYS GO HAND IN HAND. combined with uncertainty and a whiff of apprehension.

the FinePix X100 combines all the latest technical digital innovations in a beautiful.Th e Professional’s Choice Classic Design Modern Technology Inspired by the beauty and form of classic cameras from the past. N O W at f a or st de or m e o ne ns ar tra yo tio u n . traditional chassis which oozes class and prestige.